Author: Michael Witthaus

Black Violin transcends genres

Black Violin earned a Grammy nomination for its 2020 album, Take The Stairs — a fitting title, given the band’s challenging journey to success.

Led by Kev Marcus on violin and Wil Baptiste on viola, the group mashes up classical music and hip-hop. They invented their innovative genre years before YouTube, Twitter and TikTok virality existed, when making it in the world of music came from wearing out shoe leather, not web clicks.

Their first big break came as the new millennium was unfolding, and it’s illustrative. Hoping to perform at basketball star Allen Iverson’s birthday bash, they got a meeting with the promoter of Teasers nightclub in Miami.

“He laughed us out the door,” Marcus said in a recent phone interview. “He said, ‘What am I gonna do with violins?’”

Their irate manager responded by opening the back of his Ford Expedition, cranking up the sound system, and instructing the pair to play on the sidewalk in front of the club. A crowd quickly formed that soon included the shocked promoter. He got it, and agreed to hire them — as long as they promised to stay in flow.

“We needed to create a set for the DJ to mix in [so] our music didn’t stop everyone dancing,” Marcus said. “It’s the same kind of hip-hop music, except now you’re hearing violins, and you’re like, where is that? Then once they see us, they start crowding around. That was sort of the beginning.”

A couple of years later, they earned a spot on Showtime At The Apollo, a talent contest famous for unforgiving audiences.

“They boo you off the stage if they don’t like you,” Marcus said. “I mean, they are legendarily ruthless.”

The two waited in the green room as four acts went out ahead of them and were quickly dispensed by the crowd.

“A guy called the Sandman jumps from his box, hits the stage, and starts tap dancing you off,” Marcus said. “I remember being underneath … and just seeing the dust fall from the green room ceiling.”

Staring down at their violins, the two feared they’d been set up. But that feeling soon vanished.

“We walk on stage and we never lose,” Marcus said. “We won four straight competitions, we got standing ovations. It was the ‘we call home and quit our jobs’ moment. … If this crowd is gonna take us, then any crowd is gonna take us.”

The spark for their unique sound came when Marcus and Baptiste were in high school together — via a Sony Ericsson cell phone.

“Before ringtones, you could program notes,” Marcus said. “Busta Rhymes took the theme from Psycho and made a hip-hop beat, and it was the No. 1 song in the country…. I thought that was cool, so I created the notes for it and put it in my phone.”

When it rang in orchestra class, Marcus’s teacher predictably confiscated it, but not before his intrigued fellow musicians started replicating the digital sounds on their own instruments.

“The violinist next to me started playing the notes from my phone, and he went, ‘What if the violinist played?’ The next thing you know, the whole orchestra is playing,” he said.

Although Black Violin’s first Grammy nomination came for Best Instrumental Album, there’s an uplifting lyrical message throughout Take The Stairs, particularly on “Impossible Is Possible” and “One Step.” The latter song was made into a hard-hitting video, reminiscent of Childish Gambino’s “This Is America.”

C&I Studio CEO Joshua Miller wrote a short film that touched on racial profiling, the immigration crisis, and the scourge of gun violence in schools.

“We wanted it to be really controversial,” Miller said in a ‘making of’ video. “Our whole pitch was really telling the story of what’s happening in America right now.”

“One Step” had been written two years earlier, with a different message in mind, Marcus explained, but they also felt a need to update it for the present moment.

“Everything you see in the video … we’re dealing with directly,” he said. “We wanted to show our reality, and if we can’t do that within our own art then we’re in the wrong business.”

Black Violin

When: Sunday, Dec. 12, at 7 p.m.
Where: Capitol Center for the Arts, 44 S. Main St., Concord
Tickets: $35 and up at ccanh.com

Featured photo: Black Violin. Courtesy photo.

Christmas at The Rex with Morgan James

From her debut album, a live tribute to Nina Simone, to recreating Joni Mitchell’s iconic Blue track by track a few years back, Morgan James relishes a challenge. Her guiding lights are interpreters like Simone and Aretha Franklin, who “get a hold of a song, and the original goes out the window,” she said in a recent phone interview.

In 2019 James set out to make a throwback soul record with vintage equipment, backing from a rhythm section used by Al Green, and a bevy of veteran session players. Named for the studio where it was recorded, Memphis Magnetic is an R&B celebration. Alas, it came out weeks before the pandemic hit, so a planned supporting tour had to be scrapped.

She responded by returning to Memphis to make the live-in-the-studio A Very Magnetic Christmas. Incredibly, it’s even more soulful than its predecessor, with skillfully curated nuggets like William Bell’s “Every Day Will Be Like A Holiday” and “Backdoor Santa,” the latter unearthed from the 1968 Atco Records holiday compilation Soul Christmas, along with some seasonal standards and a few winning originals.

The Clarence Carter track about a Santa with more on his mind than gift-giving — “I make all the little girls happy while the boys are out to play” goes the chorus — was memorably sampled in 1987 by Run-DMC for its “Christmas in Hollis” and is a standout track on an album already packed with them.

“I do straight-up classics like ‘White Christmas’ and ‘O Holy Night,’ of course,” James said, “but I wanted to do a couple that people might not expect me to sing. I think that song turned out so great. It’s so fun to sing, and it’s so funky; we had the best time making that.”

James and husband guitarist-producer Doug Wamble co-wrote “Long As I Got You,” which she called “a little love song about winter,” adding, “when people are complaining about the weather, we’re not … we love being cozy.” Another delight from the couple is the bouncy “I Wanna Know,” which echoes Natalie Cole’s hit “This Will Be (An Everlasting Love).”

Idaho-born and California-raised, James set her sights on New York City after high school. She applied to Juilliard and was initially declined, but kept at it, eventually persuading the prestigious school to open up an extra vocalist slot for her.

“It tells you all you need to know about my personality,” James said with a laugh. “I’m very stubborn, and if I have a vision for something I don’t really take no for an answer.”

Later she performed on Broadway, notably playing Teena Marie in The Motown Show, where she caught the attention of Berry Gordy Jr. He became her mentor and helped guide her to a major-label deal with Epic Records.

“He really encouraged me to write and have a stake in my own music,” James said. “The best advice he ever gave was he reminded me to always do my best work and always go with my vision, whether or not I’m reaping benefits from it. One day he said to me, ‘You know, Morgan, a star is a star even when it’s light out. When the sun goes down, we can see the stars, but that doesn’t mean they’re not there in the daytime. You are a star all the time, so act like a star.’”

James’s Magnetic Christmas tour stops in Manchester on Dec. 4 for a show at the Rex Theatre. How does she feel about being back on the road after a two-year break?

“We are getting all our ducks in a row, and there’s a lot to think about,” James said. “We’re going to have to get used to the lifestyle again [but] we’re so excited to see everybody, and play music, and be in a different city every day. We start the day after Thanksgiving, and go all the way up until Christmas. It’s going to be so joyful and celebratory; that’s what we want from the shows.”

Morgan James – A Very Magnetic Christmas

When: Saturday, Dec. 4, 7:30 p.m.
Where: Rex Theatre, 23 Amherst St., Manchester
Tickets: $25 and up at palacetheatre.org

Featured photo: Morgan James. Courtesy photo.

Yngwie Malmsteen hits Tupelo

When he’s not revving his Fender Stratocaster at impossible speeds, shredding with a fury that other guitarists aspire to, Yngwie Malmsteen likes to drive Ferraris — he owns five, all of them red. During the pandemic Malmsteen had a lot of time for both endeavors. What resulted was a tour de force album, Parabellum.

Like his fiery playing and his fast cars, Malmsteen’s mind moves at a frenetic pace. A year in the studio, something he hadn’t experienced in decades, was a unique challenge.

“I learned a long time ago to be careful with having too much time,” he said from his home in Miami. “I had 80, 90, 100 ideas; I only took the most inspired things and refined them.”

Malmsteen pointed to Van Halen’s early albums as a source of inspiration.

“They were done very spontaneously in the beginning,” he said. “I keep that spontaneity. … Every time I come up with something new I record it right away, and usually I keep that take.”

Malmsteen played every instrument on Parabellum and sang on the non-instrumental tracks. He once hired guest singers but stopped using them a few records ago.

“That’s definitely a thing of the past,” he said.

When Malmsteen’s first tour since early 2020 begins, a band he calls “a good group of guys” is expected to learn the new songs, and expect surprises.

“We go through the songs at soundcheck; that’s all they get,” he said. “Here’s another thing I do — half an hour before show time, I call them in and we put a setlist together. Then we go on stage and I play different songs anyway! They just gotta know it.”

Malmsteen has long sneered at the idea of collaborating with other musicians, and his history helps explain why. Swedish-born, he grew up in a musical family.

“Everybody was very artistic, which was unusual there in the ’70s, because it was a socialist country [that] didn’t allow that. God bless America, man,” he said.

Classically trained from the age of 5, Malmsteen discovered rock music when he saw a clip of Jimi Hendrix smashing his guitar at the Monterey Pop Festival that accompanied a news report of his death in 1970. Later came blues from John Mayall, and hard rock via Deep Purple.

As soon as he could, Malmsteen headed to the United States.

“I took my guitar, my toothbrush, and I got on the plane,” he said. “I had a plan — my plan was to not live in a socialist welfare Marxist bull—- country.”

Soon after arriving in Los Angeles, he joined Steeler, a rising glam rock band. His first gig with them attracted a small crowd, but the following week at L.A.’s Troubadour, Malmsteen looked from his dressing room and saw a line stretched around the block.

“I said to someone working there, ‘Who’s playing tonight?’ He points at me and says, ‘You are.’ It was pretty crazy,” he said. “I was 18 years old, and all of a sudden people were digging it.”

He was in Steeler long enough to appear on their lone album, then joined another metal band, Alcatrazz. His stint there lasted less than a year, an exit hastened by onstage clashes with singer Graham Bonnet after Malmsteen received a solo offer while the group was on tour in Japan.

A reunion is, emphatically, not in the cards.

“When I left, they fell into obscurity, but I kept on going, kind of like rising up, I never stopped,” he said. “These guys … they’re selling car insurance; I don’t know what they’re doing. They asked me so many times to join, and I’m, ‘No, I didn’t sit on my ass for 40 years.’”

Malmsteen insists, “I don’t have a chip on my shoulder; the only person I feel have to prove something to is myself,” and on one of Parabellum’s standout cuts, “Eternal Bliss,” he expresses gratitude for his continued success and life’s blessings.

“I have the most beautiful wife in the world, I have a great son, nice house, I’ve played music I want to play and I never compromise,” he said, citing two reasons for his longevity. “One, I find it exciting and challenging, and only because I improvise all the time. If I were to play the same thing over and over that wouldn’t do it. Also, to quote Paganini … one must feel strongly to make others feel strongly.”

Yngwie Malmsteen w/ Images of Eden and Sunlord

When: Friday, Nov. 26, 7:30 p.m.
Where: Tupelo Music Hall, 10 A St., Derry
Tickets: $45 and up at tupelohall.com

Featured photo: Yngwie Malmsteen. Photo by Austin Hargraves.