Gretchen Parlato: A Voice to Call Her Own
By Mel Minter
When vocalist Gretchen Parlato performs a song, she doesn’t so much inhabit it as become inhabited by it, living and breathing a musical and emotional life that is inseparable from the artist. Her singing is personal, and therefore it’s immediate and resonant—and because of that, apparently artless.
Myles Boisen mylesboisen.com
Zoe Boekbinder makes music for people who like to wear sequins to the library
By Summer Olsson
When I first heard Zoe Boekbinder’s beautiful Artichoke Perfume, I thought it sounded like the musical child of Jolie Holland and Joanna Newsom had joined the circus and made an album. Not only do other people compare her to Holland, Boekbinder (pronounced “Bookbinder”) lists the musician as an influence, too. But the Oakland-based Canadian is hesitant to label her sound.
A Little More Experimental, a Little More Eclectic
Jazz, Deconstructed series explores jazz’ roots and branches
By Mel Minter
Jazz, Deconstructed, a new four-concert series, features local artists with visionary projects that stretch from New Orleans’ Congo Square to an electrocoustic jazz/hip-hop detente.
Flyer on the Wall
She beckons with her ... eyes. Also, her tetas. One of the best things about Atomic Cantina (315 Gold SW) is that there’s continuously been local art on the punk rock bar’s walls since it opened in May 2003. (Do we smell a birthday coming on?) Atomic’s not afraid to hang pop art, risqué or abstract, along with other beautiful and weird works by 505 faves. This month, drop by to see paintings by Christina Aristmuño, David Gatt, Megan Cronin, John Henry Hansen, Amanda Banker, Heather Cronin, Sunita Aristmuño, George Evans, Rodney Ibarra, Jay Smithline and Melinda Casey; photography by Crystal Sims, John Salazar and Nathan Paolinelli; ink work by Jeff Hayes; and mixed media by Kevin Hopper and Sharon Chang. (Marisa Demarco)
The Grateful Dead Crimson, White & Indigo · The Freak Out List, DVD
By Adam Perry
Despite the stereotypically cheesy cover art that will probably shoo away non-Deadheads (as usual), Crimson, White & Indigo (or “7/7/89”) includes a whole lot more than the mindless hippie drool suggested by the horrible ponytails worn by Mickey Hart, Bob Weir and Jerry Garcia at the time. Just one year before his fatal drug overdose, keyboardist Brent Mydland delivered an improvised monologue that was both uplifting and jarring during “Blow Away” and was really the MVP of this charged evening in Philly. The band also covered Willie Dixon, James “Sugar Boy” Crawford and Bob Dylan, and mesmerized the huge audience with its often-peaking space-folk, highlighted by poet Robert Hunter’s powerful lyrics in “Box of Rain” and “Wharf Rat.” Proof that the Dead were an impressively diverse and effectual band well after the ’60s.
Courtesy of the Artist
Franks & Deans • punk rock, rock 'n' roll • Shrewd • Punctured Muffler • Silent Crush • metal
By August March
At some point during the progression of meta-ultra-postmodernism, it was only natural that a band covering Rat Pack tunes revisioned as rambling ska paeans or blisteringly buoyant punk anthems based on the imbibing and love-making habits of dudes like Frank Sinatra and Dean Martin would rise from the rocanrol cauldron. Well it's 2017 and such has indeed come to pass. The name of the band is Franks & Deans. They've succeeded by inflecting the sweepingly romantic, sometimes melancholy and nearly always self-referential ditties of these post-war, pre-rock vocal heroes with good-natured rhythms and danceable guitar leads—as well as an updated fashion sense that seems to borrow more from ZZ Top's summer style guide than from Robin and the 7 Hoods—that adds affable nuance to legendary, mid-century American popular music. Band members Rob DeTie, Mike "Pip" Ullemeyer, Hoss and Sampson await your indulgence at Low Spirits on Thursday, Feb. 23, and the admission price of $5 sure as heck beats dropping “Three Coins in the Fountain.”
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