John McLaughlin’s farewell tour bus pulled into Ann Arbor on Wednesday night and delivered the goods with a program titled Mahavishnu Revisited. McLaughlin was backed by The 4th Dimension for most of the show, with openers Jimmy Herring and The Invisible Whip joining them on stage at the Michigan Theater for a symphony of sound dedicated to exploring the music of Mahavishnu Orchestra.
[https://www.moogmusic.com/legacy|Robert Moog] had no musical talent. But his talents changed music.
At the age of 15, Moog built his first Theremin, the ghostly, no-touch instrument created by Leon Theremin in the 1920s that used the amplitude and voltage of radio waves to manipulate two oscillators controlling pitch and volume. Moog continued to use his engineering skills to fine-tune these instruments, and by age 19 he was selling Theremin kits to help fund his college studies.
The [http://www.northcoastmodularcollective.com|North Coast Modular Collective] is like a modular synthesizer: made up of many parts to create a sonic whole. The group is a loose collection of Washtenaw County-area musicians and creators who teamed up earlier this year and pooled their talents to share gear, create new instruments, and trade ideas.
The trio of Joe Bauer, Dan Blades, and Bill Van Loo will represent the collective at Mini MoogFest, and we asked them their about plans for the event, the gear they'll be using, and their favorite synth-leaning recordings. (Also, [https://www.soundonsound.com/reviews/secret-world-modular-synthesizers|here's a primer on Eurorack synths], which the collective mentions several times.)
[http://theattemptedtheftofmillions.com|Sean Curtis Patrick] is a visual artist who also makes music, so it's not unreasonable to expect when he and fellow visual artisan [http://www.kbabl.com|Kendall Babl] team up with Chuck Sipperley -- expert DJ and super-synther in [https://hydropark.bandcamp.com|Hydropark] and [
https://uticasound.bandcamp.com|Utica] -- the trio will paint electronic aural sculptures in your mind, MAAAAAAAAAN.
We asked Patrick what the group's plans are for the festival, the gear he'll be using, and received recommendations for his favorite synth-leaning recordings.
[http://pulp.aadl.org/node/358606|Alex Taam] is a recording-studio engineer, composer, and all around gearhead. His mastery of synths is one of the reasons why we asked him to write and record two songs using instruments from AADL's Music Tools collection, which [http://pulp.aadl.org/node/358606|he did in February]. Taam's knowledge about all things electronica is also the reason why we asked him to help us host [http://pulp.aadl.org/node/369408|Mini MoogFest]. He'll be on hand to demonstrate some instruments, including a modular synth, and guide you through many of the other instruments we'll have on display for hands-on play.
We talked to Taam about his [http://pulp.aadl.org/node/369408|Mini MoogFest] plans, the gear he's bringing, and asked him to name his favorite synth-related recordings.
In addition to being a remarkable painter, Mike Dykehouse is an immensely creative musician. But after his [https://www.youtube.com/watch?v=If2jmSktVl0&list=PLRpJCElODjoFLb-tIcJjb… Obsolescence] (2001) album on the influential British electronica [http://planet.mu|Planet Mu] and another on [http://ghostly.com|Ghostly International] with the shoegaze-y [https://www.youtube.com/watch?v=9XmCGFBDDRM&list=PLVOsx7yFGGviWngj7qBNg…] (2004), Dykehouse mostly went underground.
Or rather, to Instagram.
Dykehouse's daily video clips of new synth jams -- ranging from straight-up techno and boogie-bass electro to hip-hop boom-bap and exploratory noise -- are often highlights of his followers' days. (Am I projecting?)
In a rare live appearance, Dykehouse will demonstrate the latest version of his ever-changing modular synth setup at [http://pulp.aadl.org/node/369408|Mini MoogFest], giving listeners a front-row seat to his daily sonic rituals.
We talked to Dykehouse about his [http://pulp.aadl.org/node/369408|Mini MoogFest] plans, the gear he's bringing, and asked him to name his favorite synth-related recordings. But to evoke the immortal Joe Perry Project, Dykehouse mostly [https://www.youtube.com/watch?v=ZVkzvkGeLIo|lets the music do the talking].
When we hear the word “orchestra,” we usually think of a group of musicians who play classical music. But the trailblazing Brooklyn-based orchestra [http://www.theknightsnyc.com|The Knights] -- coming to Rackham Auditorium on Sunday, Nov. 12 [https://ums.org/performance/the-knights|courtesy of UMS] -- are known for turning the word on its head by challenging orchestral norms and often using untraditional environments (from parks to bars) and repertoire (from avant-gardist Karlheinz Stockhausen to singer-songwriter Sufjan Stevens) to connect to a wide range of audiences.
Such a genre-bending, rule-breaking orchestra needs soloists who are just as adventurous, and for this tour, The Knights have teamed up with two superstars of instrumental music, [https://www.aviavital.com|Avi Avital] and [http://kinanazmeh.com|Kinan Azmeh].
Both Avital, an Israeli mandolin virtuoso, and Azmeh, a celebrated Syrian clarinetist and composer, produce just as diverse and tremendously compelling a repertoire as The Knights, and the combination of these three forces is a treat not to be missed. Their program on Sunday will jump from their unique arrangements of pieces by Purcell, Bach, and Schubert to some of Azmeh’s own compositions, including one he wrote specifically for The Knights, Avital, and himself. They will also feature a piece by Knights co-leader and Silkroad Ensemble member Colin Jacobsen as well as traditional Middle Eastern, Balkan, and klezmer pieces.
I spoke with Avital and Azmeh about their solo work, collaboration with the Knights, and more.
Melanie wowed audiences at Woodstock back in the summer of ’69 with her hit "Beautiful People." On that rainy night, spectators lit the night with candles, inspiring her song "Lay Down (Candles in the Rain)," which sold more than a million copies in 1970. Billboard, Cashbox, Melody Maker, Record World, and Bravo responded by naming Melanie female vocalist of the year.
Her single "Brand New Key," an almost-innocent sexy delight, topped the charts in '71. She appeared on Ed Sullivan, Johnny Carson, and Dick Cavett. She played the Royal Albert Hall in London, Carnegie Hall and the Metropolitan Opera House in New York, and the Sydney Opera House in Australia. Cher and Dolly Parton are among those who covered her songs.
To those who enjoyed folk music, and even some who didn't, Melanie was a household name.
Now, at 70, she tours and tries to stay afloat, which includes a sold-out show at Green Wood Coffee House in Ann Arbor on Friday, Nov. 10.
Still, she says, “I’ve been carefully airbrushed out of history."
Tabla virtuoso Zakir Hussain mixes Indian music and jazz in his band Crosscurrents. And he doesn't mind if you call it the "f" word.
"First, let’s address the word 'fusion,'" he said in an interview before Crosscurrents' Wednesday, Nov. 1., concert at the Michigan Theater, [https://ums.org/performance/zakir-hussain-dave-holland|courtesy of UMS]. "Fusion is not new. It is just a word needed by people to call music whereas that music speaks one unified language. The media is conscious of it now. Ravi Shankar and George Harrison ("[https://www.youtube.com/watch?v=2GRGqiT1x6M|Norwegian Wood]") contributed to making musical interactions mainstream. Fusion is not unusual. Now, it’s just more visible, advertised, and focused."
The sold-out concert in jam-packed downtown Ann Arbor witnessed what Hussain called the "universal voice of interaction," where "there are neither borders nor language issues. ... In 'hybrid' forms of music, a meeting is inevitable because the structure of Indian classical and jazz music, for example, is improvisation."
"It’s more personal than anything I’ve ever done," said singer-songwriter Timothy Monger about his latest album, [https://timothymonger.bandcamp.com/album/amber-lantern|Amber Lantern], in a February 2017 [http://pulp.aadl.org/node/354792|interview with Pulp].
It's also Monger's loveliest album, which includes two records with his former band, [http://www.aadl.org/catalog/search/author/Great%2BLakes%2BMyth%2BSociet…|Great Lakes Myth Society], and two solo LPs, 2011's [http://www.aadl.org/catalog/record/1401055|The New Britton Sound] and 2004's [http://www.aadl.org/catalog/record/1267247|Summer Cherry Ghosts].
Though [http://www.aadl.org/catalog/record/1507811|Amber Lantern] came out 10 months ago, Monger recently teamed up with director Brian Lillie to produce a video for "Hayward," one of the LP's most beautiful songs. "A video is something I've thought about doing for many years, but somehow never made a priority until this year," Monger wrote on his [http://timothymonger.com/news/14265341|website].
We asked Monger about the making of "Hayward," the singing septic-tank man who loaned him a canoe, and what's behind the "[http://timothymonger.com/news/14264460|Surf & Turf]" show he's playing on Sunday, Nov. 5, with fellow Washtenaw County singer-songwriter Dave Boutette at Old Town Tavern.