Modern Element prides itself on being “a band made up of all genres," said Trunino Lowe, the group’s trumpeter and 21-year-old leader. "We have a mixture of jazz, hip-hop, R&B, gospel, blues, neo-soul, Latin, reggae and pop. We don't have a favorite genre. We just play for the soul."
The Detroit group consists of Benny Rubin Jr. (alto sax), Jeffrey Trent (tenor sax), LeRoy Mickens (keyboards), Tony Stanford (bass), and Louis Jones III (drums) and has been spreading soulful vibes since their high school days.
"We all went to Detroit School of Arts together," Lowe said. "Being in band and jazz band, we were always together. While being in combo together, we decided to really be a band after high school."
That education was a huge influence on Lowe's life and he has trouble understanding why arts classes are always on the chopping block in schools.
A round-up of arts and culture stories featuring people, places, and things in Washtenaw County, whether they're just passing through or Townies for life. Coverage includes music, visual art, film & video, theater & dance, written word, and Pulp life (food, fairs, and more). If you're reading this in the future and a story link is dead, look up the URL on web.archive.org; we've cached every post there.
Featuring a new mix of Ghostly music by Shigeto and Charles Trees to celebrate the Ann Arbor-launched label's 20th year, the NSFW debut video by Ypsi rap duo Guttatown, the EMU-graduates-made fantasy film "Pandora's Wish," and much more.
Musical Scrappers: Akropolis Reed Quintet's Together We Sound Festival showcases the group's penchant for outside-the-box collaborations
The Akropolis Reed Quintet's second annual Together We Sound Festival begins May 28 at Cass Tech High School in Detroit and continues in various spots in the city before moving to Ann Arbor on Friday, June 7, at Kerrytown Concert House (KCH). It concludes June 8 back in Detroit. Over the course of fest, Akropolis will also play two evening concerts in Detroit and Hamtramck, plus three lunchtime workplace concerts, six K-12 school presentations, a side-by-side student concert with an Akropolis concerto, and two pop-up events in public spaces. featuring world premieres by Akropolis in collaboration with local and national artists.
Founded in 2009, Akropolis members Matt Landry (saxophone), Kari Landry (clarinet), Tim Gocklin (oboe), Ryan Reynolds (bassoon), and Andrew Koeppe (bass clarinet) met when they were students at the University of Michigan. Since then the quintet has won numerous national awards, has premiered more than 50 reed quintet works, and has released three recordings. In 2014, Akropolis became the first-ever ensemble of its makeup to win the prestigious Fischoff Gold Medal chamber music award.
Akropolis will premiere a new work, Sprocket: A Scrap Metal Sextet, at the KCH concert, a collaboration combining the music of composer Steven Snowden, and a rideable percussion bicycle designed and built by Detroit metal artist and Kresge Arts fellow Juan Martinez. Percussionist Zac Brunell will join Akropolis and ride/play the tricycle which will make familiar and unusual sounds powered by the gears attached to the pedals.
I interviewed Landry, who is also Akropolis’ executive director, and Juan Martinez, the creator of the musical tricycle for Sprocket, via email to talk about the quintet's work, Together We Sound Festival, and commissioning new compositions.
A round-up of arts and culture stories featuring people, places, and things in Washtenaw County, whether they're just passing through or Townies for life. Coverage includes music, visual art, film & video, theater & dance, written word, and Pulp life (food, fairs, and more).
Featuring new music by The Kelseys and Stef Chura, plus a short film about sleeping in various public spots in Ann Arbor at 5 am, and much more.
Jazz Is: Guitarist Elden Kelly and The Outrospectives play “Dancing Light: Music of Gregg Hill” at Blue LLama
In college, I had a professor who used to enjoy asking the students in jazz history class to define jazz. He would say, “What is jazz?” and then sit back and listen to us try to answer this seemingly basic question. We know it when we hear it, but since we can’t quite put our fingers on what makes something “jazz,” we use other words like bebop, post-bop, modern, avant-garde, free, and fusion to help us out. Usually, I deplore circular reasoning, but when it comes to impossible questions, sometimes the answer is in the question itself. Jazz is what jazz musicians do. What’s a jazz musician? A person who plays jazz is a jazz musician. What’s jazz again?
On May 9 I attended the CD release show for The Outrospectives' new record, Dancing Light: Music of Gregg Hill, at Ann Arbor’s Blue LLama Jazz Club. Guitarist Elden Kelly assembled this band to play compositions by Gregg Hill. Elden arranged the music for a specific quintet of gifted musicians, and he worked with Hill to transcribe the music over the course of the past six years. What made this concert exciting were the ways in which this group and the music it played were both firmly rooted in jazz traditions, while simultaneously breaking new ground and bringing in non-jazz elements (or at least elements that are not traditionally associated with jazz).
The group itself is almost a traditional quintet, but with some caveats.
Where Many Rivers Meet: Debashish Bhattacharya explored Indian classical music on Hawaiian lap-steel guitar at the jazz club Blue LLama
Indian classical music is not jazz, but both traditions have some commonalities, particularly improvisation, which is a critical and highly developed skill in both genres. Those commonalities -- and tons of skill -- were on display May 2 during Debashish Bhattacharya's performance at the new Blue LLama jazz club in Ann Arbor.
Indian classical music and jazz traditions are often transmitted orally. Musicians are held to a high standard of excellence. There is a tension between tradition and innovation that helps to ground the music without causing it to sound stale and boring. And in the case of Bhattacharya, who has brought the Hawaiian lap steel into the world of Indian classical music, there is a willingness to explore music beyond the traditional boundaries of style or genre.
I took my seat at the back of the club about 20 minutes before show time. My server brought me a small, single-bite portion of palak chaat, a salad of crispy spinach, yogurt, and curry created by Chef Louis that had been inspired by the evening's music. Blue LLama is very serious about its mission of combining “the love of food with the love of music” (and why there are two capital LLs in the club's name). The food is delicious and the venue has been designed from the ground up for incredible sound and vibe. It's definitely the classiest place in town to see live music.
A round-up of arts and culture stories featuring people, places, and things in Washtenaw County, whether they're just passing through or Townies for life. Coverage includes music, visual art, film & video, theater & dance, written word, and Pulp life (food, fairs, and more). Sources this time are:
➥ All About Ann Arbor
➥ Ann Arbor Observer
➥ CTN Ann Arbor
➥ Detroit Free Press
➥ Detroit Metro Times
➥ Detroit News
➥ Encore Michigan
➥ Life in Michigan
➥ Lifting Up A2 Jazz
➥ The Michigan Daily
➥ The Saline Post
➥ WCBN Local Music Show
➥ We Love Ann Arbor
Northern Virginia rapper Joey Blanco been called a modern Big Pun or Noreaga because of his suave vocal style and Latin heritage.
And when asked about his influences, Blanco admits that Pun, along with Jay-Z, Big L, Nas, and Biggie, is one of his favorites.
But Blanco has his own cadence and tone, marked by assertive vocals rapping English lyrics peppered with colorful Spanish ad-libs.
"I think it’s doing great," Blanco said of Latino hip-hop, "I just feel as though there’s no artists that perform in English and that are killing it with the Spanish ad-libs. I feel like I’m bringing that to the game. I’m just trying to bring something new to the Spanish culture."
The local band Fangs and Twang may have started out as a joke, but it’s turned out to be a really good one.
Combining a rootsy, country-rock sound -- that’s the “twang” -- with songs about monsters and other scary things -- that’s the “fangs” -- the band has been sharpening its sound for the past four years, releasing three albums along the way.
The core band consists of Joe Bertoletti on bass, Andy Benes on guitar and mandolin, and Billy LaLonde on drums. All three contribute vocals, and the band's sound is augmented by keyboards and fiddle on the album. “This band is all about collaboration and I'm really proud that this collaboration also extends to vocal duties,” Benes says.
Their latest album, the just-released Spirits and Chasers, perfectly balances Fangs and Twang’s offbeat outlook with the members’ first-rate musical chops. The band will celebrate the new album with a record-release show April 27 at Ziggy’s in Ypsilanti.
The title track on the new album is a standout, featuring some clever lyrics over a gritty roots-rock sound. “The Ballad of the Legend of the Saga of Swamp Thing” encapsulates the band’s goofy sense of humor. The infectious “Ogo Pogo” sounds like straightforward country, with a long instrumental intro that showcases the band’s instrumental abilities. The album’s six original songs are rounded out by a perfectly-on-point cover of Blue Oyster Cult’s “Godzilla.”
The band members jointly answered a few questions via email:
Walter Everett, professor of music theory at the University of Michigan and author of The Beatles As Musicians: Revolver Through the Anthology, returns to AADL on Thursday, April 25, to deliver a lecture titled "Children of Nature: Origins of the Beatles' Tabula Rasa" in honor of the Fab Faux's upcoming performance of the "White Album" at Michigan Theater on Saturday, May 11.
The Beatles continually reinvented themselves. In 1966, Revolver announced itself with a warped reinvention of the 1-2-3-4 count-off that had introduced their first album. A year later, for Sgt. Pepper's, they created another band in their own image. The slate was wiped clean again with the "White Album," not only by their desire to return to the natural state sought in their early-1968 Himalayan meditative rituals but also through their 180-degree turn from the lavish artifice of Pepper, an album high with artistic pretensions, groundbreakingly imaginative lyrics, radically colorful instrumentation, and a deep exploration beyond the limits of four-track recording, its extravagance marked by a groove intended only for dogs, all wrapped in a cover as opulent as it was mystifying.
In contrast, the plain white cover of the 1968 double album emblematized the group's return to nothingness just as surely as did their removal of the garish 1967 paint jobs from three of their guitars, now stripped down to bare wood. This new blank slate cast the group not in the austere, somber tones of the With the Beatles cover photo from 1963, but in a new light as if an optimistic eggshell of unlimited possibilities was about to hatch. In this presentation, Everett aims to show that in many ways, a post-India back-to-nature simplicity may be seen to have guided much of the "White Album"'s motivational impulses.
Check out the videos below of Everett's previous visits to AADL when he discussed Sgt. Pepper's and Abbey Road.