In the 1980s, Elliott Sharp was the height of New York City cool, a central part of that town's experimental music scene. His creations were inspired by advanced mathematical concepts. He tuned his guitars according to the Fibonacci Sequence and wrote challenging pieces inspired by fractal geometry.
Imagine you're strolling down a dark and steamy alley. In the distance, you think you overhear Adele jamming with some combination of country and bluegrass pickers. As you round the corner and get a look at the band, you realize it's actually Lake Street Dive: singer Rachael Price, drummer Mike Calabrese, bassist Bridget Kearney and guitarist Mike "McDuck" Olson.
Originally published on Fri October 5, 2012 11:17 am
Pianist Ethan Iverson launched a debate last month when he evoked "the dark side" of musical competition — specifically, of the Thelonious Monk International Jazz Competition, whose semifinals and finals take place this weekend in Washington, D.C. Iverson took issue with overemphasizing technical convention, and with the very nature of judging art, making the somewhat hyperbolic suggestion that Monk couldn't have competed in the contest named for him.
Rickie Lee Jones' new album, The Devil You Know, is a collection of covers. "I think [I recorded the album] partially to remind people that a singer is the one who interprets the song," she says. "And once you do that, it's yours."
Eric San, who goes by the name Kid Koala, plays the blues. But just as Kid Koala isn't a traditional blues name like Blind Lemon Jefferson or Doctor Ross the Harmonica Boss, he isn't a standard blues man.
Kid Koala is a DJ. Big turntables, fast hands, scratching old-fashioned vinyl records — the whole deal. Now, he's taken that DJ equipment and produced a "turntable blues" album titled 12 Bit Blues.
So how did a Canadian DJ discover the blues, exactly? San says it all happened in high school.