Sunday, July 13, 2008
Friday, April 4, 2008
Peter Mollica - myfriendpeter capitalizes
by Liam Irwin
As a proud Glens Falls music enthusiast, my interest in localized rock scenes and the intimate nature of doomed dive bars and coffee cup distributors followed me to my place of education, SUNY Albany. Since graduation, I’ve left Albany and entered the workforce with much of my learned skills and wisdom lost in that old basement apartment. If nothing else, to my credit are memories and friends.
One friend that seems to make his way into my mind often is fellow student and fanatical music junkie, myfriendpeter. Known to me as Peter Mollica, a short scruffy 20-something from Brooklyn, Peter is his own band. You might expect that my memories (or lack thereof) of his performances might be clouded by a lot of beer and little bit of regret, but most of the scenes feature an old ottoman, a dirty rug, 4 of my close friends, and Peter belting tune after tune with nothing but a guitar to accompany him.
To be frank, I wasn’t a fan the first time I heard myfriendpeter spewing from the bedroom of my college roommate. Initially, I said to myself, “he’s alright I guess.” But after acquiring a taste for such songs as “The Ponds of Time”, “When Nonsense Makes Sense”, and “Peter’s Song against Sex,” I got it. You’ll embrace the simplicity of the instrumentation and melodies, and the honesty in his voice and lyrics. myfriendpeter hates to capitalize his words, but capitalizes on everything else, including his timeless tunes.
Peter generally plays his real gigs at Muddy Cup on Madison Avenue, and has a demo that he recorded himself. Peter describes his music: “it sounds like my voice, a guitar. sometimes a keyboard, or viola, or shaker.” After listening, this proves accurate, but less complimentary than I’d have put it.
Peter’s voice is not professionally nor technically brilliant. Like Dylan, it is his own. Considering the current music industry’s mode of operation: making every song on mainstream radio sound as if it was baked in the same oven: there is something to be said about such originality.
Check this artist out if you like performers such as Bright Eyes, Iron&Wine, and Owen.
Peter Mollica’s myfriendpeter can be found on your web browser at: http://www.myspace.com/myfriendpeter
- Liam Irwin
The Joe Mama Band – Green Pepper Air Freshener
by Andrew Del
Two things are immediately obvious when first hearing JMB’s “Green Pepper Air Freshener”: 1) I challenge anyone to come up with a better band name than that. Seriously, I’ll owe you a couple dirt dogs. Secondly, the lineup of Phil Camp, Jeff Britton, Mark Orlosky, and Marty Montena are tight as anything and showcase some serious chops.
Another thing immediately apparent upon listening to this album: This is not your average local yokel bar band hocking their latest beer-fueled CD of Lynyrd Skynyrd or Zeppelin ripoffs. JMB has some serious street cred around the region, and that doesn’t come with just playing happy hours up and down the “street of dreams”. JMB’s strength lies in its songwriting ability, musicianship, and ability to put together an album of material, as opposed to conscripting a bunch of random songs, then throwing them together and calling it an album.
The flow of “Green Pepper Air Freshener” is smooth and dynamic. “Ride the Sky” kicks off the album and carries with it a feeling of urgency and serves as the propellant tune for the rest of the album. Tracks with a blistering pace like “Rocket Fuel” (my personal favorite) segues right into a blues and Floyd-infused “All my Love”, without sounding misplaced or out of sync. And one can’t help comparing “The Bad Song” to something out of the Ginger Baker catalogue, specifically a tune that could be the missing track to Masters of Reality’s “Sunrise on the Sufferbus”. “Lock the Door” features some of the more heartfelt lyrics on the album: “Feel the love you used to give to me…Put out the lights, and lock the door / I know that I can’t see you anymore…”, and can’t help but stand out as a favorite off the album.
The influences and stylings are rampant throughout JMB’s “Green Pepper Air Freshener”. Throughout the album, a listener grabs snippets of Pink Floyd, the Eagles (the harmonies are truly fantastic), Umphrey’s McGee, Phish, They Might Be Giants, Tom Petty, and Roy Orbison. The beauty of JMB is that they would fit in any setting: this is a group you could easily see opening for Umphrey’s McGee, Robert Randolph Band, Grace Potter and the Nocturnals, Widespread Panic, and even Victor Krauss.
If there are any shortcomings with this album, it would be a better use of space within some of the more “busy” songs (“Ride the Sky” and “Human” come to mind). JMB would also be better served not to be so modest with some of their playing – this group can rip, and I’d love to see them at a bigger venue where they could really open up some of these tunes. The musicianship is superb within the band – tasteful drum fills, guitar solos, and steady driving bass lines dominate the album. Add a splash of chromatic runs, supporting arpeggios on the keys, and solid, meaty chords, you have one hell of a group. If “Green Pepper Air Freshener” is any indication of what this group can sound like in the studio, I’m making it a point to be at their next show requesting “Rocket Fuel”…
Rating: 9/10
- Andrew Del
Two things are immediately obvious when first hearing JMB’s “Green Pepper Air Freshener”: 1) I challenge anyone to come up with a better band name than that. Seriously, I’ll owe you a couple dirt dogs. Secondly, the lineup of Phil Camp, Jeff Britton, Mark Orlosky, and Marty Montena are tight as anything and showcase some serious chops.
Another thing immediately apparent upon listening to this album: This is not your average local yokel bar band hocking their latest beer-fueled CD of Lynyrd Skynyrd or Zeppelin ripoffs. JMB has some serious street cred around the region, and that doesn’t come with just playing happy hours up and down the “street of dreams”. JMB’s strength lies in its songwriting ability, musicianship, and ability to put together an album of material, as opposed to conscripting a bunch of random songs, then throwing them together and calling it an album.
The flow of “Green Pepper Air Freshener” is smooth and dynamic. “Ride the Sky” kicks off the album and carries with it a feeling of urgency and serves as the propellant tune for the rest of the album. Tracks with a blistering pace like “Rocket Fuel” (my personal favorite) segues right into a blues and Floyd-infused “All my Love”, without sounding misplaced or out of sync. And one can’t help comparing “The Bad Song” to something out of the Ginger Baker catalogue, specifically a tune that could be the missing track to Masters of Reality’s “Sunrise on the Sufferbus”. “Lock the Door” features some of the more heartfelt lyrics on the album: “Feel the love you used to give to me…Put out the lights, and lock the door / I know that I can’t see you anymore…”, and can’t help but stand out as a favorite off the album.
The influences and stylings are rampant throughout JMB’s “Green Pepper Air Freshener”. Throughout the album, a listener grabs snippets of Pink Floyd, the Eagles (the harmonies are truly fantastic), Umphrey’s McGee, Phish, They Might Be Giants, Tom Petty, and Roy Orbison. The beauty of JMB is that they would fit in any setting: this is a group you could easily see opening for Umphrey’s McGee, Robert Randolph Band, Grace Potter and the Nocturnals, Widespread Panic, and even Victor Krauss.
If there are any shortcomings with this album, it would be a better use of space within some of the more “busy” songs (“Ride the Sky” and “Human” come to mind). JMB would also be better served not to be so modest with some of their playing – this group can rip, and I’d love to see them at a bigger venue where they could really open up some of these tunes. The musicianship is superb within the band – tasteful drum fills, guitar solos, and steady driving bass lines dominate the album. Add a splash of chromatic runs, supporting arpeggios on the keys, and solid, meaty chords, you have one hell of a group. If “Green Pepper Air Freshener” is any indication of what this group can sound like in the studio, I’m making it a point to be at their next show requesting “Rocket Fuel”…
Rating: 9/10
- Andrew Del
Charlie Hunter – “Mistico”
by Andrew Del
All too often, the mere mention of the term “jazz-fusion” makes most music fans want to curse Weather Report for ever releasing “Heavy Weather”. Let’s get one thing straight: Charlie Hunter is a musician’s music and is fusion, in the truest sense of the word (i.e. – won’t translate well to everyone). Hunter’s brand of fusion is daring and can at times send many a listener back on their heels, back to the comfort of Bob Dylan, the Beatles, Nirvana, etc. Much like any style of fusion, and especially jazz-fusion, it is at times only well appreciated by those immersed in the art. That’s not to say no one else would “get” what Hunter has been doing with his music. It’s just a statement for the average listener: Brace yourself. It’s about to get experimental.
Hunter is one of the great modern fusion instrumentalists that is evolving and changing the concept of what the modern jazz trio or quartet “should” sound like (and is the man whom my cat is named after). The man plays an 8-string guitar restrung and setup with bass strings on the lower three positions. That alone should give you some inkling as to how proficient he is with his musicianship and talent. That he is a Berkeley grad with a history of touring Europe and instruction by Joe Satriani should begin to give you an idea of the background and musicianship Hunter brings to the fold of any group he’s been with.
On “Mistico”, he returns into his comfort zone with smaller groups: Hunter on a new 7-string guitar, Simon Lott on drums, and Erik Deutsch on keys. The three are well-known to each other, and it is this type of interplay Hunter appears to have been looking for with this album. “Lady!” starts the album off with Hunter’s signature runs and licks over a jaunting swing feel that listeners have come to associate as Hunter’s “traditional” style of playing. The group falls into the fold well, and each member conveys acceptance and complimentary voicing with Hunter’s explorations though “Lady!”.
The rest of the album is anything but “traditional”, even for Hunter. Funk, breakbeats, groove, jazz, and pop music all combine into one throughout the album, with Hunter’s presence ever shifting, challenging, and changing the mood throughout. “Speaker Built In” lends a nod towards Medeski Martin and Wood’s groove-heavy style of jazz, while “Estranged” can’t help but recall Otis Redding or Ray Charles’ instrumental work (to me, anyway). The pop-laden, overdrive-infused “Balls” gives a nod to Hunter’s penchant for pop tunes in general, while “Wizard Sleeve” gives off a slinky, urgent feel somewhere between the Knight Rider theme (the old school GOOD one) and Miles Davis’ “On the Corner”. The title track gives off an eerie Radiohead vibe throughout, with Hunter’s dynamic blues-infused interplay sparingly used in coordination with Deutsch until the song comes to fruition with a cacophonic jarring chord and ambience that leads into “Chimp Gut”, a closing piece that reminds listeners where Hunter’s true heart (and strength) is rooted.
Overall, “Mistico” is an intricate, thorough, yet jarring romp through the musical interests and influences of Charlie Hunter. If one was to put together a compilation of the soundtrack to Hunter’s life, it might well resemble “Mistico”. That’s not to say it would represent the musical appreciation of Hunter’s fans as well. “Mistico” is technically and sonically appealing and Hunter’s use of improvisation, chord voicings, and unabashed exploration into the world that is jazz-fusion has never been more dynamic. But it has also never been more scattered and dissonant, and the album comes off as grossly disjointed. Hunter’s own promotion for “Mistico”: “Is it rock? Is it jazz? Is it funk? YES!” even seems to acknowledge this. The album is interesting, groove-heavy, and heady, but if the intention was to develop a broader fanbase, Hunter missed his mark, badly. An excellent and fascinating listen, but average music fans beware: Not for the faint of heart.
Rating: 7.5/10
- Andrew Del
All too often, the mere mention of the term “jazz-fusion” makes most music fans want to curse Weather Report for ever releasing “Heavy Weather”. Let’s get one thing straight: Charlie Hunter is a musician’s music and is fusion, in the truest sense of the word (i.e. – won’t translate well to everyone). Hunter’s brand of fusion is daring and can at times send many a listener back on their heels, back to the comfort of Bob Dylan, the Beatles, Nirvana, etc. Much like any style of fusion, and especially jazz-fusion, it is at times only well appreciated by those immersed in the art. That’s not to say no one else would “get” what Hunter has been doing with his music. It’s just a statement for the average listener: Brace yourself. It’s about to get experimental.
Hunter is one of the great modern fusion instrumentalists that is evolving and changing the concept of what the modern jazz trio or quartet “should” sound like (and is the man whom my cat is named after). The man plays an 8-string guitar restrung and setup with bass strings on the lower three positions. That alone should give you some inkling as to how proficient he is with his musicianship and talent. That he is a Berkeley grad with a history of touring Europe and instruction by Joe Satriani should begin to give you an idea of the background and musicianship Hunter brings to the fold of any group he’s been with.
On “Mistico”, he returns into his comfort zone with smaller groups: Hunter on a new 7-string guitar, Simon Lott on drums, and Erik Deutsch on keys. The three are well-known to each other, and it is this type of interplay Hunter appears to have been looking for with this album. “Lady!” starts the album off with Hunter’s signature runs and licks over a jaunting swing feel that listeners have come to associate as Hunter’s “traditional” style of playing. The group falls into the fold well, and each member conveys acceptance and complimentary voicing with Hunter’s explorations though “Lady!”.
The rest of the album is anything but “traditional”, even for Hunter. Funk, breakbeats, groove, jazz, and pop music all combine into one throughout the album, with Hunter’s presence ever shifting, challenging, and changing the mood throughout. “Speaker Built In” lends a nod towards Medeski Martin and Wood’s groove-heavy style of jazz, while “Estranged” can’t help but recall Otis Redding or Ray Charles’ instrumental work (to me, anyway). The pop-laden, overdrive-infused “Balls” gives a nod to Hunter’s penchant for pop tunes in general, while “Wizard Sleeve” gives off a slinky, urgent feel somewhere between the Knight Rider theme (the old school GOOD one) and Miles Davis’ “On the Corner”. The title track gives off an eerie Radiohead vibe throughout, with Hunter’s dynamic blues-infused interplay sparingly used in coordination with Deutsch until the song comes to fruition with a cacophonic jarring chord and ambience that leads into “Chimp Gut”, a closing piece that reminds listeners where Hunter’s true heart (and strength) is rooted.
Overall, “Mistico” is an intricate, thorough, yet jarring romp through the musical interests and influences of Charlie Hunter. If one was to put together a compilation of the soundtrack to Hunter’s life, it might well resemble “Mistico”. That’s not to say it would represent the musical appreciation of Hunter’s fans as well. “Mistico” is technically and sonically appealing and Hunter’s use of improvisation, chord voicings, and unabashed exploration into the world that is jazz-fusion has never been more dynamic. But it has also never been more scattered and dissonant, and the album comes off as grossly disjointed. Hunter’s own promotion for “Mistico”: “Is it rock? Is it jazz? Is it funk? YES!” even seems to acknowledge this. The album is interesting, groove-heavy, and heady, but if the intention was to develop a broader fanbase, Hunter missed his mark, badly. An excellent and fascinating listen, but average music fans beware: Not for the faint of heart.
Rating: 7.5/10
- Andrew Del
Tuesday, March 25, 2008
Brittany Harrington
by Alex Hyatt
A young singer-songwriter from Greenwich caught my ear—and emotions—on MySpace the other night. Brittany Harrington, just 22, is a music student at SUNY Plattsburgh—and from her profile I gather that she’s a world traveler, too. She certainly knows her way around writing and performing superb songs.
Her version of Ben Harper’s ballad Waiting On an Angel nearly brought tears to my eyes, and her smoky, pitch-perfect voice has to be heard to be believed. Harrington casts a spell that will keep you hitting the play button, and her recorded vocal performances display a maturity beyond her years. Other cover tunes on her site: Sublime’s Boss DJ, and John Lennon’s Imagine. Good stuff—and great choices.
Harrington has her own sound and original material, too. There are nods to lo-fi acoustic-alternative masters Edwin McCain, Jack Johnson, and Johnny Cash dispersed throughout her songs. I’m definitely into it. So much for the theory that every musician needs to be a seasoned stage vet before releasing a killer set of material. She performed her first “real” gig recently and I have no doubt there will be many more.
I’m waiting for a chance to grab the boys from my band and see what she’s up to on a stage somewhere. Check out Brittany Harrington and her fresh tracks from her new EP “Five Star Ethics” at http://www.myspace.com/britharrington
—Alex Hyatt
brasihyatt@gmail.com
Friday, March 7, 2008
CD Reviews coming soon
Soon there will be local and national CD reviews published here on GFR. If you have a disc you would like reviewed, please email me (links on the right). We have a team of reviewers (not just me). For starters Alex and Liam will be contributing. I am open to additional writers submitting reviews as well. This will be fun... and good for all.
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