Memorial Day Rootsy Revival at the Art Bar


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Organized by The Stereofly, a music blog that seeks to unite musicians across the Southeast, the Memorial Day Rootsy Revival (this Sunday, May 26th, at the Art Bar) presents an excellent mix of some of the best local and regional roots-rock acts around, with all proceeds benefiting Hidden Wounds, a Midlands based nonprofit that provides counseling to veterans dealing with PTSD.

BLACKLIGHT ROOM
05:00-05:30 The (Hollerin’) River Talkers
06:15-07:00 Black Iron Gathering
07:45-08:45 Co.
09:45-10:45 The Restoration
11:45-12:45 Banditos

OLD TV ROOM
05:30-06:15 Overmountain Men
07:00-07:45 Elim Bolt
08:45-09:45 The Mobros
10:45-11:45 Megan Jean & The KFB
12:45-01:45 Masonjar Menagerie

While featuring many local Columbia bands we here at Jasper are big fans of (The Mobros! The Restoration! Black Iron Gathering! The Hollerin’ River Talkers!) and a couple of Charleston’s most buzzed-about (Company, Elim Bolt), the real draw here is a couple of awesome-but-little known regional acts: the Nashville-based, Birmingham-bred Banditos and Piedmont, NC’s Overmountain Men. The former is a gritty, hard rockin’ honky tonk band with a soulful heart, the latter a casually elegant group that splits the difference between good-time string band stately folk-rock. Check out the videos below–these are two bands worth turning out for, in addition to the onslaught of local talent that will be populating the twin stages of the Art Bar on Sunday.

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Review — Songs for a New World at Workshop Theatre

Songs for a new world

Workshop Theatre’s latest production, Songs for a new World is a dialog-free series of songs by Jason Robert Brown.  Each song transports you to a single moment in a character’s life where they have to make a decision, make a first step, or move forward in a way that will change their life forever.  There’s no singular story being told, but each of the songs are meant to form a sort of story arc nonetheless. Brown says, “It’s about one moment. It’s about hitting the wall and having to make a choice, or take a stand, or turn around and go back.”

Songs for a New World was originally intended for a four person cast.  In this production, the cast has been inflated to 9, plus 4 dancers.  This leads to several issues.  First off, there are differing levels of vocal talent and range among the actors in this show.  The actors who are capable of making their brief vignette powerful and moving stand in sharp contrast to those who are working outside of their vocal range, some of whom seem to struggle to hit the right notes. Another addition that detracted from this production [for me] was the dancers.  Wayland Anderson’s choreography was beautiful, thoughtful, and well-executed, but didn’t belong in the world of this show.  There is a beauty in simplicity and that is what this production needs.  The blocking was visually interesting, but less would have truly been more. It’s difficult to concentrate on the character bearing their soul in front of you when you’re surrounded by visual clutter.

Don’t think I’m saying this production is without merit.  There is too much talent involved in this production for that.  While I don’t agree with all of the decisions he’s made here, Chad Henderson (director) has choreographed some of the most striking scene transitions I’ve seen, all in keeping with a theme of traveling across the ocean to some unknowable land.  There are some amazing performances as well.  Vicky Saye Henderson makes a hilarious Park Avenue matron who threatens her husband from the ledge of their penthouse apartment—deciding whether or not to jump into the crowd below (Song:  “Just One Step”).  With a strong voice and a powerful presence, she steps into the shoes of her many characters and takes you with her.  Kendrick Marion’s determination and vigor inspires and moves from his first number (“On the Deck of a Spanish Sailing Ship, 1492.”) until the very end.  I would have liked to have seen and heard more from Kanika Kay Moore, whose strong soprano would have been an asset in several pieces.  Andy Bell was another surprisingly underused talent.

Vicky Saye Henderson; photo courtesy of Jeni McCaughan and Workshop Theatre
Vicky Saye Henderson; photo courtesy of Jeni McCaughan and Workshop Theatre

Songs for a New World is a bold choice for Workshop, and I applaud them for choosing something this unique and difficult.  Theatre shouldn’t just be about making safe bets.   I eagerly look forward to the rest of their season.

 

– Jillian Owens

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Q&A with Ned Durrett of Ned and the Dirt

Ned Durrett Image

While Ned Durrett and the Kindly Gents have been around the music scene for a while, this weekend sees the re-launch of the group as Ned and the Dirt, replete with a muscular new album that sees the band stretching its wings musically and Durrett moving tentatively beyond the earnest romantic longing of his early songwriting efforts. Jasper caught up with the young bandleader this week via email to ask a few questions about their latest recording effort, the full-length Giants, which the group will be releasing tonight, 5/17, at New Brookland Tavern. Where’s Wolf, Foley, and Ben Patat (of Lilies and Sparrows) are also performing.

J: So the first time I saw you perform was quite a few years back at The White Mule, and you had just released a rock/pop-focused solo album. How did you go from there and that to this new record as Ned and the Dirt?

ND: I think the difference between the two records and simply an obvious growth musically.  Our band added Trey Lewis on lead guitar and from there we realized we had the tools to fill in the songs with the rock n’ roll sound we had been waiting for.  My music has become music that’s seen some stuff in its life, instead of the wide eyed acoustic teen it was before.

J: Tell us a little bit about the recording process with Kenny McWilliams at Archer Avenue Studios.

ND: Working with Kenny was one of the best decisions we’ve made musically.  The man is brilliant and on top of that he’s unbelievably easy to work with.  We spent two straight weeks in his studio and by the end of it we all felt like we were friends.  I even texted him a couple days after recording to tell him a missed him.  It was a moment.  If I had all the money and resources in the world I would still come back to Archer Avenue and record my next record there too.

J: There seems to be an interesting balance of adventurous indie rock, Southern rock guitar riffage, and more conventional pop/rock stylings on Giants. How does this balance work? Is it difficult to get these different elements to coexist?

ND: I think the styles on this album all come from our band being into all different kinds of music.  We’re always listening to new bands and trying to stretch our comfort zone musically that I think the main way that we can make sense of it all is by making a physical manifestation of our understanding of these different genres.  I think when you listen to “Giants” you’re able to dive right into our minds and how we hear these different genres of music.

J: As a songwriter, how do you think you’ve grown over your years at USC?

ND: My songs are more complex and my lyrics have become more introspective I think.  When I first starting writing songs, they were all about a young look at love, that fluttering feeling it gives you and the ache that comes from losing it.  Now my songs are about love, marriage, talking to people that aren’t there, being afraid of not being able to fully reciprocate love, etc.  I’m covering more topics and those topics are being covered in a much more profound level.  I hope that I have this same thing to say about myself 4 years from now.

J: Where can people get the new record if they can’t make the release show?

If you can’t make it to the release show you can buy our album on any major online distributor, or you can go down to Papa Jazz and pick up a physical copy if you want.  We also have a Bandcamp page where people can go to pay their own price for the album!  Either way, we just want you to have our music.

J: For a taste of the new record, check out the advance single “Physical Proof” here.

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