Feast of Music

Pace Presents: Ana Moura

2012-02-11T12:22:00-05:00

Fado singer Ana Moura entranced the audience at the Michael Schimmel Center for the Arts on Friday night with soulful lyrical tales told amidst the backdrop of traditional melodies. Her voice, while powerful and rich, was at times haunting and lovelorn as stories of love triangles, seashells and fortune tellers filled the theater as she was accompanied by a simple three-piece group comprised of bass, acoustic guitar and Portuguese guitar.

Having recently released a boxed set which includes her entire discography, the performance included songs from each of her albums as well as “No Expectations” from the Stones World Project during which Rolling Stones’ saxophonist Tim Ries appeared. Ries remained with the group for the next song, providing a complementary voice resulting in a sweet, smooth duet between the two.

Moura’s stage presence is captivating, as she sways to the rhythm, accenting the melodies with a flit of her shoulders. As she cajoled the audience for participation throughout the night, her charisma washed over us, making it futile to resist providing clapping beats and chorus refrains. One audience member provided a moment of levity when she finished a lyric following a pause in the music - only to be outshone by Moura, who finished the verse smiling while motioning towards the direction of her impromptu co-soloist.

As if she felt the band had missed out, Moura announced that she was adjusting the setlist so the band could regale us with their vocal stylings. Certainly a wise choice, as the vocal solos, complemented by acoustic and Portuguese guitar, transformed into a swelling trio. Reminding us that "one of life’s beauties is the uncertainty of what tomorrow may be," it was clear we had fallen under Moura's spell and had no desire for today to come to an end.

Chamberlin at Mercury Lounge

2012-02-11T12:14:51-05:00

by Jordan Lewis

Chamberlin has been called "The biggest band in Vermont that no one has ever heard of," but after seeing them for the first time on Tuesday at Mercury Lounge, they're likely to be much better known before long. In 2010, Chamberlin was signed to Roll Call Records along with fellow Vermonters, Rubblebucket. Their debut album, Bitter Blood, was recorded around the same time by producer/guitarist Scott Tournet of Grace Potter & The Nocturnals. Shortly thereafter, Chamberlin supported The Nocturnals on their sold-out winter 2011 tour.

Their set on Tuesday had a wonderful dynamic arc, featuring backbeat-driven, synth-heavy numbers followed by acoustic tunes laden with lush five-part harmonies and gentle brush strokes on the drum kit. This is not to say that they have an ambiguous sound: on the contrary, their ability to maintain continuity while playing in various styles is what makes them so special. It is true Americana, in the best sense of the word.

Lyrically, they've got some real gems. Their songs deal with lost love, heartache, isolation, and retribution. As in: "Let the demons in your throat say the things you know you won't," and "Lord, you know I choose my words like a miner picks the stone." Lead singer and guitarist Mark Daly has a range as wide as the day is long, and his falsetto reminded me strongly of Jeff Buckley's. Both lead vocals and harmony parts were spot-on.

Chamberlin is about to embark on another month long tour in March. An inside source tells me that another record is currently in the works, and if it has as much to offer as their previous releases, then we have another great bunch of tunes to look forward to.

Ray Chen at Le Poisson Rouge

2012-02-11T12:00:21-05:00

By Caleb Easterly

The rising star violinist Ray Chen Chen bounded onto the stage Tuesday night at Le Poisson Rouge, addressing the audience with a polite British accent and cracking a couple jokes before launching into Bach's haunting Chaconne from the Partita No. 2 in D minor. The Chaconne, which Chen described as “the answer to the meaning of life,” is one of the pinnacles of solo violin repertoire; Chen played it with bravado, leaving several bowstrings behind in the process.

The four movements of Brahms' 3rd sonata, traverse heroic themes, longing romantic melodies, and lively virtuosity; Chen showed he is capable of them delivering them all. Chen is clearly most at home in the Romantic era, as demonstrated by his new CD (released on Tuesday), which includes the Tchaikovsky and Mendelssohn violin concertos.

Chen played several encores, including the theme from Schindler’s List and Pablo de Sarasate's "Introduction and Tarantella" chops. He had interacted with the audience all evening, but took things to another level when he asked for a vote for the last piece: a slow melody that unfortunately he didn’t identify. No doubt Chen would have played more if there wasn’t a stage curfew set by the management.

Chen is a rarity: a terrific performer without the ego. He's also a true virtuoso, playing the violin like it’s the most natural thing in the world. This isn’t surprising, as he’s been playing since age 4, but it’s still an incredible experience to see such an easygoing performer in such an intimate venue.

Howlin Rain at Mercury Lounge

2012-02-09T06:44:57-05:00

by Brian Donohoe

Howlin Rain played a very intimate show to a crowd of about 75 on Tuesday night at the Mercury Lounge. It was the smallest show I've been to in a while, and a major treat. Despite the crowd, they played their solid 80 minute set like they were at Radio City, not toning it down or calling it a wash at any moment. (About halfway through the show, I realized I was standing right next to David Fricke.)

Howlin Rain is a lot of fun to watch, with Ethan Miller's raspy vocals anchonring the band's bluesy yet raging sound. No synthesizers here - these Californians rely on the basics, and know how to turn it up (way up) or down. This was the first time I had heard a bunch of their songs, most of which were off of their Rick Rubin-produced third album, The Russian Wilds. There is an unpredictability to the songs, and the heavy baselines made it seem like the band was taking me on wild ride to an unknown destination.

The jam sessions were raw but tight: each instrument seemed to be just as loud as the next. Joel Robinow's keyboard stole several moments, giving the tunes a little bit of a Ray Manzerak-like zest.

After a crowd request, the band played an explosive encore, which was by far the most energetic part of the set. They knew it was Tuesday night, and that this small group of people still dragged their asses out to the late show at the Mercury Lounge. That shows character, something good bands need to have.

This will not be the last time I see Howlin Rain. They give you a good show, and they know how to rock n' roll. Rick Rubin and David Fricke obviously agree.

(The Russian Wilds arrives Valentine's Day.)