Category: Nightlife

Marsalis brings Democracy! Suite to NH

By Hannah Turtle

hturtle@hippopress.com

Legendary jazz musician Wynton Marsalis is slated to play Jimmy’s Jazz and Blues Club in Portsmouth on Saturday, July 9.

Marsalis’ newest work is called The Democracy! Suite, one he wrote during lockdown. The record is based on his idea that jazz music is a metaphor for democracy. In a recent interview, he had plenty to say about the album.

“If we just think about the things that are required for democracy. The one thing is: no king. The basis is, you have a constitution, you distribute power. Our music has that type of distribution of power. I might be the leader of the band, but when we start playing, the president of the band is the drummer, not the trumpet player. The drummer is playing all the time, making decisions. There’s an actionable form to create a plurality, it’s designed to prevent kleptocracy. Now, we aren’t really doing good with that right now, but it’s checks and balances,” said Marsalis.

“You’ve got the legislative branch, the executive branch and the judicial branch. In jazz, if you look at the rhythm section, each instrument represents that. The judicial branch is represented by the bass, that’s the final word on harmony, it’s at the bottom. The executive branch is the drums, that’s the quick power. And, the legislative branch is the piano — it has all the keys.”

Though ideas of democracy and the constitution have been a hot-button issue lately, Marsalis is not worried about our ability to persevere.

“The fundamentals of democratic living are not based on the time you live in, it’s based on the principles themselves. For example, there was a time in America when we had slaves, but it was antithetical to principles of freedom, so we fought it,” he said

“Jazz has three fundamental components. One is improvisation. That’s the personal freedom, that’s the part that everyone agrees on. The second component is swing, and we don’t agree on that. Swing has the African component, and America struggles to deal with its own African-ness. Swing is also the collective part, it’s the ‘we.’ We just don’t agree on the ‘we.’ Our dream is what we can individually do: I can get a house, I can make some money. We don’t think of the community, the collective thought. We want to have the bass vamp the same four notes, have the drums replaced by something electronic that plays a loop, all that is the decision that I don’t want to deal with the ‘we,’” Marsalis said.

He brings it back to the beginning.

“It’s the desire to change the plurality to something that an individual can dominate. But we have an actionable form too, it’s a chorus that goes around and around in a cycle. The energy pulls from the bottom up, it doesn’t go top down. The top is just where the instructions come from. For example, elections are run by states, not by the federal government. Polls are local. A poll worker is just a person in the community. That’s how our music is. We get people from communities, they don’t have to be from a certain kind of family, and we just play.”

That final fundamental jazz component is the blues. It’s something Marsalis spoke of reverently. “The blues has an optimism that’s not naive. Stuff doesn’t go your way a lot of the time, but you can’t give up. Use your will, get into the struggle, and create the change you want to see.”

On that note, I had just one more request for Marsalis, to describe his music to readers who might not be familiar. At that, he was back to a simple answer: “I really don’t know. There’s a lot of it. I’ve done like a hundred and fifteen records. They’re all different. The one thing about the music is that it’s collective. Every time, I play with great musicians, and we play together.”

The Wynton Marsalis Septet
Where: Jimmy’s Jazz and Blues Club, 135 Congress St., Portsmouth; 888-603-JAZZ
When: Saturday, July 9, 7:30 and 9 p.m.
Tickets: $125 to $195 at jimmysoncongress.com

Featured photo: Wynton Marsalis. Photo by Lawrence Sumulong.

Jimmy Tingle’s Humor for Humanity

Though he’s a political comedian, and maybe the only standup who attended Harvard’s Kennedy School of Government, Jimmy Tingle doesn’t lean left or right in his joke-telling. Yes, he ran for Lieutenant Governor in Massachusetts’s 2018 Democratic primary, but on stage, he’s there for everyone.

Tingle believes, to paraphrase the old Burt Bacharach/Hal David song, that’s what the world needs now.

“People don’t need to be beat up rhetorically; people want to laugh,” he said in a recent phone interview. “I don’t shy away from what’s going on, but I don’t want to be finger-pointing at people and turning on them, making people feel like there’s no hope, that we’re not making progress. Because we are.”

Tingle calls his new campaign Humor For Humanity, and aims to draw laughs and do good. “It’s basically using humor to illuminate the human condition and where we are in the country right now,” he said, “but it’s also a social enterprise that raises spirits, funds and awareness for nonprofits, charities and social causes. Our mission is your mission … humor in helping, humor in healing, humor in hope — ha, ha, ha!”

Proceeds from a pair of upcoming shows at The Music Hall in Portsmouth will benefit the Friends of Moldova Refugee Relief charity. Tingle’s Harvard classmate Maia Sandu is president of Moldova, which borders Ukraine and has been severely impacted by the Russian invasion of that country. “I’ve done some low-level fundraising for [the cause] in the past couple of months,” Tingle said, “but this will be a more direct deposit to the organization.”

Tingle was inspired to become a comic by Dustin Hoffman’s portrayal of Lenny Bruce in the 1974 Bob Fosse-directed biopic. “That just illustrated what comedy could be besides what I grew up on — The Three Stooges, Honeymooners, Jackie Gleason,” he said. “When I watched that movie back in college, while we were discussing … all the challenges that were front and center in the country at that time, coming out of the Vietnam War, I saw what comedy could be as well. It just resonated with me.”

His show is autobiographical, beginning with Tingle’s days as a street performer in Cambridge, doing standup in the city’s burgeoning ’80s comedy scene. He’ll talk about working at the Ding Ho club, where he was a fixture, then moving to one-man shows, running through a ‘greatest hits’ of some of those, then touch on his time as a 60 Minutes correspondent.

The evening concludes in the present, where Tingle remains an optimist. “Things that were revealed during the pandemic, like racial equity [and] treating these subjects with humor, but also, I would like to think, insight and, again, progressive commentary.” That last word reflects a continuum rather than an ideology, Tingle stressed. “I like to think we’re making progress; we gotta keep making progress.”

Along with live work, Tingle has a podcast that’s hosted comics like Colin Quinn, Marc Maron and Paula Poundstone, as well as activists like John Rosenthal, the founder of Stop Handgun Violence.

“It’s not just about entertainment, but that’s … first and foremost on my agenda,” he continued. “I want to be funny as well as as positive and uplifting as I can be, and also hopeful regarding the situation that’s going on. The doom and gloom is overwhelming, and the division in the country is overwhelming. I want to be less partisan and more unifying about the human condition, and what we all have in common.”

After two years of uncertainty, Tingle feels it’s the least he can do.

“I just want people to come out and have a good time and leave the theater hopefully feeling uplifted and more positive,” he said. “More hopeful than they were when they went in. I’ve had a lot of people say, ‘Thank you so much for doing this show. It’s exactly what I needed, because I haven’t been out of the house in two years. It was so good to be back out and laughing with people.’”

Jimmy Tingle
When: Saturday, July 16, at 6 and 8:30 p.m.
Where: The Music Hall Lounge, 131 Congress St., Portsmouth
Tickets: $30 at themusichall.org

Featured photo: Jimmy Tingle. Courtesy photo.

Dakota Smart holds release show for debut LP

Like many performers, Dakota Smart used the pandemic’s forced down time to woodshed new material. He wrote over 100 songs, a few of which are part of his first full-length album, Leap of Faith. He plans to perform several more at a release show for the new record on July 8 at Foster’s Tavern in Alton.

The Lakes Region hamlet is Smart’s home town, and the venue was the site of his first paying gig. His high school band Organized Chaos performed there when it was called JP China; the restaurant/bar reopened with a new name on Memorial Day and features live music on Fridays and Saturdays.

“It was my first introduction to actually doing what I love professionally,” Smart said recently by phone. Now that his first proper long-player is complete, “being able to play in my home town for people who have watched me for years is really moving … a special experience.”

Smart brought his piano and ukulele skills to make the pop/rock effort at Rocking Horse Studios in Pittsfield. Produced by Brian Coombes and Josh Kimball, members of the studio’s house band backed him — guitarist Myron Kibbee, Eric Wagley on drums and bass player Brenden Harisiades, with extra spice provided by cellist Jeremy Harman and Wesley Thurber on trumpet.

Thurber’s interplay with Smart’s ukulele elevates standout track “Lovely Lady,” first released as a single last September. “I love trumpet, and I think it works really well with ukulele songs,” Smart said.

The rousing “Believe” finds Smart on his primary instrument, piano, and showcasing his songwriting talents. The tune is a rousing “climb on a back that’s strong” number, with rising horns evoking Fleet Foxes, with impressively mature lyrics.

This sophisticated wordplay isn’t entirely surprising, given that he wrote about being a lonely college boy on “Sunrise In New York” while he was still in high school. “It was a song about me, predicting the future,” he said of the 2019 track.

Lately, he’s become more comfortable telling other people’s truths.

“I got to a point where I was writing songs about my own experience, but I felt as though I didn’t have a lot to write about,” he said. “One of the things I often say is I believe the best songwriters start off as the best listeners. There are thousands of stories out there, between friends, families and people you’re going to meet in your everyday experience. A lot of them motivate you more than your own.”

There’s still a confessional element to the new disc, which ranges across “a bunch of different moods between slow songs, fast songs, happy and sad stuff,” Smart said, adding, “I have a pretty good fluctuation between writing about myself and other people … there’s definitely a mix between the two, and I’ve definitely expanded upon that.”

Along with Leap of Faith, Smart plans to unveil some even newer material at the upcoming show.

“I’m actually going to be playing a lot of songs that have not been released yet,” he said. “I’m going to be not only showing people the brand new album, but I’m also going to be giving them a sneak peek of stuff that is going to come.”

Smart received multiple New England Music Awards nominations in 2021, and he recently made a career-building trip to the music Mecca of Nashville.

“I was invited through the Extreme tour,” he explained. “You go down and partake in the Nashville Objective.” He was one of 20 finalists who played for a panel of industry leaders, A&R types and Grammy nominees, after surviving a selection process that began with over 1,000 artists.

“It’s not a talent show, you’re not being judged,” he stressed. “It’s a group of people who are passionate about music that really want to help out upcoming artists and be a part of their upbringing. The real goal of going down there and doing what I did was to make connections and nurture these new relationships. It turned out really great; I made a lot of new friends within the industry, and it was amazing.”

Dakota Smart
When: Friday, July 8, 6:30 p.m.
Where: Foster’s Tavern, 403 Main St., Alton Bay
More: dakotasmart.com

Featured photo: Dakota Smart. Courtesy photo.

John Hiatt returns with beloved band

For his 1987 album Bring The Family, John Hiatt had a band of heavy hitters: guitarist Ry Cooder, Nick Lowe playing bass, and drummer Jim Keltner. But he knew they wouldn’t be with him to tour in support of that career-defining disc. So when Asleep at the Wheel’s Ray Benson suggested he seek out Sonny Landreth, Hiatt listened.

“He spoke of him in terms of, ‘He’s the other slide guitar player,’” Hiatt recalled in a recent phone interview. “He knew Ry wasn’t coming out with us, so he was recommending Sonny as the other guy who could do the job…. Indeed, it turned out to be the case.”

Landreth brought a rhythm section of David Ranson and Ken Blevins to audition for Hiatt, a process that took one run through “Memphis In The Meantime” to complete. After months on the road elevating that and other Bring The Family tunes, the band, now called The Goners, went into the studio with iconic producer Glyn Johns to make Slow Turning.

The band reunited in 2018 to celebrate that album’s 30th anniversary. Now, fresh from touring with Jerry Douglas in support of their 2021 collaboration Leftover Feelings, Hiatt is back with his old group and an expanded setlist that includes songs from the two albums they made together in the early 2000s, The Tiki Bar is Open and Beneath This Gruff Exterior.

“We’re extending out to them, with the exception of the first A&M album (Family); but we toured that so extensively it feels like it’s theirs in my mind,” he said. “Mainly drawing from those four, and there are things included in those records that I haven’t played in a long time. So we’re kind of excited about that.”

Asked about the ease with which his infrequent touring unit gets back into form, Hiatt chuckled. “We’ll see,” he said. “We don’t like rehearsing too much — save it for the night. We’re kind of a weird, I don’t know, punk band — except for Sonny, who’s a virtuoso. The rest of us are good at what we do, but we just do one or two knuckleheaded things.”

Along with his own output, other artists have recorded Hiatt’s tunes extensively, from Three Dog Night to Bonnie Raitt, whose version of “Thing Called Love” helped reboot her career. Bob Dylan did Hiatt’s “The Usual” for the soundtrack to Hearts of Fire. Hiatt can’t name a favorite, though hearing the Neville Brothers do “Washable Ink” stands out. “Because I love them so much … but there’s been a lot of thrills, spills and chills getting songs covered.”

As to his own songs, Hiatt is taciturn. “They’re like kids [and] you don’t have a favorite child — it’s against the law,” he said. “I love them all; they grow up and go out, and some of them excel in different ways than others. But again, it’s like children — you love them all until the bitter end.”

With two dozen albums spread across almost 50 years, Hiatt allows that the muse is easier to summon as he approaches age 70 and awaits the birth of his first grandchild, courtesy of daughter Georgia Rae — but only a little bit.

“The biggest problem I think you have to get by is you gotta get past that guy, John Hiatt, who writes songs,” he said. “I do remember when I was younger and I got a little bit of notoriety, the sort of modest career that I’ve had, you kind of get scared by your own ghost, you know? So in that respect, I think it’s easier. But they’re maybe fewer and farther between.”

That said, he has enough new material for a record and hopes to hit the studio sometime in the next six months. “I don’t know what it will be, if I’ll do it acoustic, just me,” he said. “I’ve always wanted to make just a solo record.”

The upcoming tour has Hiatt considering another possibility. “I have thought about getting The Goners back together with Glyn Johns and making a record,” he said, rising at the notion that watching the Get Back documentary may be part of his inspiration.

“Wasn’t he amazing in that?” he said of Johns, who also helmed the follow-up to Slow Turning, 1990’s Stolen Moments. “And no different, no different — that’s what’s so great about him. I mean, we’re no Beatles, and he was a much younger man, but he was just as forthcoming and easy going with us back in ’88 as he appeared to be on the Let It Be tapes. He’s a great guy; he’s holding a lot of cards.”

John Hiatt & the Goners Featuring Sonny Landreth w/ Chris Trapper
When: Saturday, June 25, 8 p.m.
Where: Colonial Theatre, 609 Main St., Laconia
Tickets: $49 and up at etix.com

Featured photo: John Hiatt. Photo by David McClister.

Northlands Music & Arts Fest is a packed affair

An effort that began as crisis management in the pandemic’s early days is poised to be a highlight of this summer and many more. The Northlands Music & Arts Festival is a cultural buffet sure to please many palates. It includes five heavy hitters at the top of the bill: Joe Russo’s Almost Dead, Twiddle, Lotus, Lettuce and Melvin Seals’ Grateful Revue, a collaboration that promoters believe might not happen again. There’s also a stellar undercard.

After indoor venues shuttered in the dark spring of 2020, Seth McNally and Mike Chadinha of M.E. Productions launched socially distanced Drive-In Live shows at Cheshire Fairgrounds. As restrictions eased the next year, it became Northlands, with audience pods and close to two dozen more events.

This time around, they’re packing an entire season into one weekend. They hope to do two festivals in 2023.

Starting with Russo as a linchpin, the duo built a blend of big-name anchors and curated support acts, like buzzy Jersey jam band Dogs In A Pile, who kick off the show on Friday, June 24, and Blue Star Radiation, a supergroup that includes moe. members Rob Derhak and Vinnie Amico alongside Tim Palmieri of Lotus, and Percy Hill’s Nate Wilson.

Also eagerly anticipated are sets from progressive bluegrass stalwarts Yonder Mountain String Band, and Haley Jane & The Primates playing together for the first time following a long hiatus. Local favorites Dopapod, Lespecial, Pink Talking Fish and Joe Samba — the latter debuting a new album — are other highlights.

Chadinha brought experience organizing the charity-based Uplift Festival in his hometown of Peterborough for several years, and playing drums with circuit veterans Roots of Creation. McNally’s resume includes booking the Flying Monkey in Plymouth and a few other facilities. Professional chemistry is a big part of their success, the two stated in a recent videoconference interview.

“Our dynamic works because we bounce a lot of things off one another,” Chadinha said. “I have the artist angle, he has the back of the house booking angle, and somewhere in the middle of those two, we make things work perfectly for artists and the venue.”

The hope that doing only one event would mean a quicker process turned out to be over-optimistic. “I thought it was going to be maybe a little less work, but it’s the same amount as an entire season,” McNally said. “A hundred times harder than I thought, and 1,000 times more than anybody in the audience knows.”

In an inverse of horn-honking concerts necessitated by the Covid-19 outbreak, scaling back became the only option when the Swanzey facility returned to its normal schedule of fairs and agricultural events. But both McNally and Chadinha are glad things are returning to normal, as they’ve thought about doing an event like this for a while.

“It was the perfect time to take the leap, because a season wasn’t an option,” McNally said. “We decided to pull the trigger almost right after the end of last season and it’s good…. We needed every moment to prepare. Booking alone took four months at least before we got it fully wrapped up. It’s a long process.”

Along with music, there will be a caravan of food trucks, far more than at last year’s Northlands concerts, and more than a dozen craft artisan vendors. There’s also tent and RV camping available. “A lot of unique things are going to be happening for campers; some of them are going to be surprises,” McNally said. “We’re going to keep them occupied and happy the whole time. It’s going to be 24/7 for us as a crew.”

Music will be nonstop, as setup teams quickly transition between two main stages, different from big festivals that force fans to inevitably skip an act or two. “We like being boutique,” Chadinha said. “The stages aren’t far from each other, so you can do a quick shift. With no overlapping sets, there’s no chance you’ll miss anyone.”

The fans in both of them are eager for everything to begin.

“I can’t wait for the music to actually play,” Chadinha said, adding, “I know Dogs In A Pile are going to come out of the gate smoking, because I know the feeling of being the first band on a big festival and thinking, ‘We’re going to get out there and with the first note we’re going to hit it, we’re going to get this started.’ So get there early, and make sure you see them.”

Northlands Music & Arts Festival
When: Friday, June 24, 1 p.m. and Saturday, June 25, 11 a.m.
Where: Northlands (Cheshire Fairgrounds), 247 Monadnock Hwy., Swanzey
Performers
June 24 – Joe Russo’s Almost Dead, Lotus, Lettuce, Dopapod, Dogs In A Pile, Blue Star Radiation
June 25 – Twiddle, Melvin Seals Grateful Revue, Yonder Mountain String Band, The Movement, Lespecial, Pink Talking Fish, Haley Jane & The Primates, The Trichomes, Joe Samba Band
Tickets
Two-day: general admission $166.35, VIP $254.95, children $43.76
One-day: general admission $95.62, VIP $201.71, children $25.77
Add-ons: Two-day on-site camping $220.75 (RV or tow $237.07), parking $20 and up

Featured photo: Northlands Music & Arts Fest 2021. Courtesy photo.

Guitarist Jesse Cook marks debut album’s 25^th

It’s easier to follow the puck on a televised hockey match than to discern what Jesse Cook’s fingers are doing on a fretboard. The Toronto-based guitarist defies the laws of physics every time he plays flamenco music on his nylon six-string. Since releasing his debut album, Tempest, in 1995, Cook has captivated audiences across the world.

He’s made multiple PBS specials, received several Juno nominations and earned 10 platinum and gold albums. He was seemingly born to play; Cook can’t remember when he first picked up a guitar but hears stories about jamming with a friend when he was 3 years old.

Cook took his first lesson at 6 and would go on to study at the Royal Conservatory, NYU and Berklee, determined to be a concert guitarist.

“But as I got close to graduating, I started to chicken out,” he recalled by phone recently, reasoning that “everybody would love to be a concert guitarist, but you can’t make a living doing that.”

So he turned to being a composer and working behind the scenes of film and television. But he kept getting noticed when he’d create a guitar piece. “People would say, ‘Oh, that’s so beautiful, you should record an album of your own music,” he said. “I was like, ‘Nah … nobody’s going to want to hear that.’”

Finally Cook relented and recorded his first album at home. He reluctantly pressed 1,000 CDs, and worried most of them would end up as coffee coasters. But with help from a couple of key television and radio appearances, the opposite happened. Cook sold them all out within a week.

This success created an unexpected problem; Cook didn’t have any money to make more discs. However, a distributor stepped in and pressed another 2,000 copies to satisfy burgeoning demand at record stores across the country. “Canadians are really supportive of our own, “ Cook said.

All the activity got the attention of labels below the border. and after a flurry of courtships Cook signed with Narada Records. “They swept me off my feet,” Cook said to explain why he chose the Wisconsin independent company over Windham Hill and a few other bigger-name operations.

It was a good decision; Cook’s new label quickly got him added to the prestigious Catalina Jazz Festival, held on an island on the coast of Southern California. Though booked in a small bar that weekend, he played to capacity crowds that spilled out onto the sidewalk. When Cook moved around the tiny island in one of their trademark golf carts, fans chased him like he was musical royalty.

Soon after, Cook’s album was in the Billboard Top 20, and he hasn’t looked back since.

“As soon as I stopped getting in my own way [and] chased my dreams … my life got way easier,” he said. “I had a full calendar, I was doing the things I’d always wanted to do and loving doing them, and there were way less annoying gigs. When you’re kind of a music mercenary you take whatever comes in the door, [but] once it’s your own project you only have to work with the people you like and admire.”

Cook is finally embarking on his pandemic-delayed Tempest II tour, supporting a re-recorded version of the record that started it all. When he appears at Concord’s Capitol Center on June 11, he’ll be joined by Matt Sellick. Cook calls the young native of Thunder Bay “the best flamenco guitarist in Canada,” adding, “he knows my music better than I do.”

Sellick encouraged Cook to revive “Switchback,” a song from his late 1990s catalog, and rework it as a guitar duet piece. Watching the two exchange frenetic runs on the track, now a regular part of shows, is a wondrous sight.

Also in Cook’s band, which formed a little over four years ago, supplanting his decades-old former group, are Portuguese drummer Marito Marques, bass player Van Mitchum and Fethi Nadjem on violin and other instruments. Cook spotted Algerian-born Nadjem while watching videos of friends on YouTube, and got an introduction through mutual friends.

“Once we finally got together, it was just this great collaboration,” Cook said of Nadjem, who provided integral support on Cook’s latest album, Libre. “I just love the way he plays, the way he hears music. He’s super talented.”

Jesse Cook
When: Saturday, June 11, 8 p.m.
Where: Capitol Center for the Arts, 44 S. Main St., Concord
Tickets: $35 and up at ccanh.com

Featured photo: Jessie Cook. Courtesy photo.