The Travelin’ McCourys

www.thetravelinmccourys.com

MIM:  As the sons of bluegrass legend Del McCoury, Ronnie McCoury (mandolin) and Rob McCoury (banjo) continue their father’s work – a lifelong dedication to the power of bluegrass music to bring joy into people’s lives.  And with fiddler Jason Carter and bassist Alan Bartram, the ensemble is loved and respected by the bluegrass faithful. 

The Travelin’ McCourys have a confidence that only comes from having paid their dues with twenty years on the bluegrass road.  Other groups and new fans hear this immediately:  the tight rhythm, the soulful material, and the confidence in taking bluegrass from the safety of the shore into uncharted waters.

At the beginning of this show, fellow usher Chris Moreno remarked that ‘all bluegrass pretty much sounds the same’.  It was not necessarily a complement but I soon realized how perfectly fabulous this was.  Bluegrass DOES all sound the same – which is why I find it so inviting and comforting and connective and familiar.  Fifteen minutes into the concert I had magically discovered that I really liked bluegrass.

This group was great.  The four steady bandmates were obviously well in-tone with each other and loved what they did.  They joked and teased each other on stage in an easy, non-forced way.  They each rotated high-lighting songs and 3 of the four sang.  With only 2 microphones, they had to dance around each other on stage as they rotated solos – but this was all accomplished in an easy choreographed way.  It was a lovely show.

Another highlight was their guest performer – a guitar player regularly with Ricky Skaggs and the Kentucky Thunder band.  He was amazing and a perfect addition to the group.

Towards the second act I was again struck by the fact that ‘all bluegrass pretty much sounds the same.’  Yes, this is true and after 90 minutes the familiarity had worn off.  I even had a ‘didn’t they already play this song?’ moment.  But overall, this was one of my favorite shows and much loved by the sold-out crowd as well.

Alpin Hong

MIM:  Pianist Alpin Hong’s combination of stunning technique, emotional range, and rare humor continues to bring audiences young and old to their feet.

This was a laid-back, easy concert – an intimate crowd of about 20 from the Sagewood Retirement community next door.  Alpin was relaxed and enjoying himself; he even wore jeans.  He played a small selections of songs with enthusiasm and love for his work.  The concert was about 6 songs from a variety of composers.  He intruded each with small antidotes or discussions of the composers.

Although Alpin was engaging and an excellent speaker, I left the concert feeling detached from the artist himself.  The crowd, however, loved him and it was fun to be a part of such a small and special occasion.  Alpin was obviously an extremely talented pianist and I know this was a rare occasion to witness a musician of his caliber in such a close setting.

Dick Dale

www.dickdale.com

MIM:  Universally acclaimed as a rock pioneer and “King of Surf Guitar”, Dick Dale brought a bold new sound to early sixties rock with hits such as “Let’s Go Trippin” and “Miserlou”.  While his music is closely associated with Southern California’s surfing culture, it was also influenced by the music of his Lebanese family background; Gene Krupa’s big-band drumming; and Dale’s early studies in trumpet, drums, and ukulele.

Part of Dick Dale’s unique guitar style stems from the fact that he is a left-handed guitarist who plays “upside down”, ie:  without reversing the strings for left-handed playing.  His thunderous tonality, which earned him the title “Father of Heavy Metal”, was also the result of a close collaboration with electric-guitar pioneer Leo Fender.  The Dick Dale sound has become deeply ingrained in American popular culter.  It was featured in Quentin Tarantino’s popular 1994 film Pulp Fiction.  And the Black Eyed Peas’ 2005 hit “Pump It” contains a sample of Dales signature song, “Miserlou”.

Dick is a legend in his own right and I came to appreciate and respect his music over the course of this show.  He played with his son Jimmy, a killer musician as well, and they enraptured the sold-out crowd for over an hour.  Dick had a friendly bantering style – he’d banter to the audience, he’d banter to himself, but mostly he banter to his son who’d return with an eye-roll and a shrug.  It did not appear scripted – Dick made up his monolog as he went along and was very entertaining. 

For someone I hadn’t heard of, I was amazed at the number of songs I knew.  Dick had a harder-edge style of surf music.  It was more early Frankie Valen and less pop-y Beach Boys.  Dick would demonstrate and teach along the way, frequently interrupting songs to point out cords or styles.  It was a fun and educational show all around. 

A Jazz Celebration Encore

MIM:  This holiday celebration brings back the Marty Ashby Trio from Pittsburgh to share the stage with Arizona’s hottest jazz talent.  Along with favorites from the summer show, the Encore program will also highlight several new world premieres as well as music that celebrates holiday traditions from around the world.

I have always convinced myself that I like jazz.  Ok, or at least I feel like I should like jazz.  After all, I was in the jazz band in high school.  We have an easy-listening jazz CD.  Obviously, I should like jazz.

Epiphany #1:  There are many people out there that REALLY like jazz.  Sponsored by the local jazz radio station, the jazz enthusiasts came out in droves. 

Ephiphany #2:  I don’t really like jazz after all.  Ok, its enjoyable and I appreciate the musicianship.  But I don’t follow the artists, I recognize but cannot name most of the songs, and I’m jazzed out after an hour.  Luckily I was able to sneak out at intermission.

Perhaps I’m being a little hard on this show.  It was beautiful music and the skill of the artists is impressive.  The music was familiar and the few holiday songs were perfect for the occasion.  Overall, I felt the show was exactly what was promised – a lovely afternoon of jazz favorites.

Michael Miles: “From Senegal to Seeger”

www.milesmusic.org

MIM:  Musician, composer, musical playwright, actor – Michael J. Miles is a rare artist who combines talents from numerous artistic disciplines.  He is a creative force who has produced a remarkable catalog of musical works, including recordings, books, and stage productions.  He is also an educator who works in university settings as well as in the Chicago public schools.  As a musician, Miles has contributed groundbreaking work on the banjo that has put him in a category all his own.  The Chicago Tribune’s Harold Rich said, “Miles has dared to take on some of the most dramatic and profound music ever written, and succeeded.”

The performance was a history lecture – a surprising evening when I was expecting “Dueling Banjos” and folk art.  Miles cleverly wound his way through teaching the history of the banjo that we completely forgot we were learning something and became absorbed in the story. 

The banjo was borrowed from slaves brought over from Senegal and adopted by America as an instrument all our own.  Considered a slave instrument for most of the 18th century, its music later bridged the gap between black and white and became a popular instrument of the working poor.  Miles has a collection of banjos on stage – including an Africa variety, an original Civil War model, and a 40 year old guitar – and he integrated the stories of the instrument in with the chronicles of American history. 

He quoted Mark Twain.  He acted out Pete Seeger’s testimony before the House Un-American Activities Committee.  He sampled over 20 songs and played 5 different banjos. 

I was surprised and pleased with this performance.  Frequently I wish my brother could be a shows with me; tonight, I wished my Dad could have joined me.  Although the second half was slower and less purposeful, I sincerely felt I learned something and was thankful for the experience.  Nicely done, Michael Miles.

Monty Alexander

www.montyalexander.com

MIM:  in a career spanning four decades, jazz pianist Monty Alexander has spent a lifetime exploring sounds that graft the traditions of American jazz to his authentic Jamaican roots.

Born and raised in Kingston, Jamaica, Alexander took his first piano lessons at age six.  As a youngster, he was often invited to sit in with the bands of prominent musicians working in Jamaican nightclubs and hotels.  Alexander came to the United States at the end of 1961, and less than two years later he had landed a gig with Art Mooney’s orchestra in Las Vegas, where he caught the eye of New York City club owner Jilly Rizzo and his friend Frank Sinatra.  Rizzo hired the young pianist to work in his club, where he accompanied many well-known performers such as Sinatra. 

Yes, Monty Alexander is a legend – that much is true.  With the two other members of his trio, he played a wide range of jazz piano pieces, classic melodies, and gentle melodies.  The entire performance was beautiful, if not entirely memorable.  A nice night of music.

Lakota Sioux Indian Dance Theatre: “Copata Upo! Come to the Center”

MIM:  An unforgettable event featuring some of the most highly acclaimed performer of the Sioux Nation.