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Archive for the ‘Frogs’ Category

SOUNDTRACK: MEG MYERS-Tiny Desk Concert #830 (March 6, 2019).

Meg Myers has a fascinating delivery–singing rather low on the first verse and then in a kind of falsetto on the second verse.  It’s kind of interesting but it seems at times like she’s mocking the lyrics or something.  But I love the music on the song.  I especially love the violin slide to the high notes at the end.

Apparently the instrumentation here is very different from the album.

Meg Myers put out one of 2018’s most intense and cathartic albums. Take Me to the Disco raged and threw sonic punches at anyone who’d ever attempted to use or abuse her, from former record executives to past lovers. Dressed in a sparkling blue leotard, Myers re-creates that fire and ferocity behind the Tiny Desk, replacing her album’s roaring electric guitars and electronics with a pulsing string quartet, piano and brushed drums.  [Jared Shavelson: drums, percussion; Josh Rheault: keys; Kristin Bakkegard: violin; Livy Amoruso: violin; Paul Bagley: viola; Carol Anne Bosco: cello].

But the most intense part of the performance is Myers herself. The distant, piercing looks she gives during the set’s opening cut, “Jealous Sea,” are unforgettable and unforgiving as she sings about a rat’s nest of feelings — anger, fear, jealousy, desire — over an ex. “Everything’s right, everything’s wrong / When you call my name,” she sings while half-hugging herself. “And I don’t think I can stop the jealousy / When it comes, it comes like waves and I can’t breathe.”

I am mixed on her delivery, but I like most of her lyrics.  I am fascinated by the imagery of “I don’t think I can stop the jealous sea, when it runs, it runs like lightning through my teeth.”

Myers follows with a searing version of what she calls “a very lovely, uplifting song” from Take Me to the Disco called “Tear Me to Pieces,” a frenzied takedown of liars, buried secrets and “wicked temptations.”

In the middle of “Tear Me to Pieces,” she sings “it’s in your eye,s you fucking liar” which she sings in what I assume is her normal voice.  And she sounds so powerful and clear there that I rather wish she sang more like that.   I wonder if all of these vocals styles sound different with guitars.  Because by the end, her yelling seems a bit out of tune.

She takes a little break before the final song because she played last night.  While she’s rehydrating, she talks about the next song, a cover of Kate Bush’s “Running Up That Hill.”

She then dials back the fury and indignation to close with a surprising version of “Running Up That Hill” by Kate Bush. Myers is a longtime fan, and often gets compared to the British singer. But Myers tells the audience she fell in love with the song for its meaning. “It’s about men and women and the differences between them, and learning to have empathy for each other.”

At first I wasn’t too keen on her version–again, her vocal delivery seemed really wrong for this song.  But as she was singing–and singing the lyrics so clearly, I started to really appreciate the way she was performing it.  So I’m overall mixed on her.  I wanted to like her more than I did.

[READ: February 21, 2019] The Dam Keeper: World Without Darkness

Kondo and Tsutsumi have both worked at Pixar, which may explain why this graphic novel looks unlike anything I have ever seen before.   I have (after reading their bios) learned that this was also a short film.  I’m only a little disappointed to learn that because it means the pictures are (I assume) stills from the film.  It still looks cool and remarkable, but it makes it a bit less eye-popping that this unusual style wasn’t made for a book.

For part two, our heroes, Pig, Fox and Hippo are trying to get back home.  But they need the help of that weirdo frog character named Van.  Van shows them the city where he lives.  And it is incredible. So many people, so many colors, and the dams are all automated.  But when they get down into the city, it is just fill of smog,.. so much smog that they need to wear masks.  Van gets ahead of them and they lost him, but everyone speaks a different language and it’s hard for them to find anything.

After wandering around looking for Van, Pig spies the ancient symbol of damkeepers.  He remembers back to his father saying it’s a symbol of the damkeepers’ promise to protect the city–they sacrifice for a greater cause. (more…)

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SOUNDTRACK: THE GLENN MILLER ORCHESTRA-In The Nutcracker Mood (2012).

Glenn Miller disappeared just before Christmas on December 15, 1944. His Orchestra, in the too-short run under his personal leadership, had officially recorded only one Christmas song (“Jingle Bells”, October 20, 1941).

Year later, the orchestra has recorded three Christmas albums.

A list of desirable players was compiled. There were a few requisites — musicians had to be working currently; only alumni of the Glenn Miller Orchestra would be recruited; each individual had to have recognized and outstanding talent; each veteran had to be able to take a leave-of-absence from his current “gig”; and, of course, be available to come to New York City to record.  The average age of this band is about 50. The length of time each player performed with the Glenn Miller Orchestra ranges from as little as 6 months to well over 10 years. The cumulative experience of this band recreating the authentic Miller “sound” is well over 100 years!

The first recording, “In The Christmas Mood”, was released in 1991. It was so successful that a second recording, “In The Christmas Mood II,” was produced and later released in 1993.

Almost all of the musicians performing on all three of these recordings, are the same. The only differences are the pianist for the first recording, and trombonist, Larry O’Brien, the then leader of the Glenn Miller Orchestra, was unable to make the second recording due to being on tour. Larry is noticeably back on this recording as evidenced by his beautiful trombone solo on Toyland.

My parents loved Glenn Miller and I grew up listening to him.  So when I saw this, I knew I had to get it–combining Glenn and the Nutcracker!

“Miniature Overture” a fun overture that puts the swing in things.
“March” I don’t know if Brian Setzer put the swing into this song before they did, but it has Glenn all over it.
“Dance of the Fairy Dragee” doesn’t differ too much for the original at least until the middle when the jazzy drums kick in.  The end totally swings.
“Russian Dance”  fast and peppy and wonderful with a big band flourish at the end.
“Arabian Dance” I love that the more Arabian sound comes from a muted trumpet.
“Chinese Dance” There’s some extra big band solos thrown into this one–cheating a bit I think.
“Dance of the Mirlitons” Some nice swinging in this dance too of course.
“Waltz of the Flowers”  This song is usually pretty sedate, but they big up the band.   The main part is still a pretty waltz, though.

“Jolly Old St. Nicholas”  The band’s singers enter on this song.  I have to admit I never really liked the Miller songs with words.  But this sounds pretty accurate to me.
“Toyland” A slow romantic ballad that I don;t recognize from elsewhere.  I could see Lawrence Welk and his bubbles doing this song.
“Ode to Joy”  You don’t hear jazzy versions of this too often, but they have the Glenn Miller sound perfectly for this swinging Classic.

“A String of Carols; Here We Come a-Caroling, Up On the House Top, a Child Is Born in Bethlehem, Deck the Halls”  The swingers are back with this nice medley of carols.

“Parade of the Wooden Soldiers” I love that they threw in a few bars of In the Mood into this song.
“Old Fashioned Christmas Tree” and “March of the Toys” I’m not sure if they are from something or just goo old swinging fun.
“What Are You Doing New Year’s Eve?” returns the vocals to the end of the disc.  I fitting end for the Christmas holiday.

The Glenn Miller Orchestra:
Saxes: Ralph Olson Lead Clarinet, Alto Saxophone & Flute; Lee Lachman Clarinet, Alto Saxophone & Piccolo; Mark Vinci Clarinet & Tenor Saxophone; Frank Perowsky Clarinet & Tenor Saxophone; Richy Barz Bass Clarinet, Alto Saxophone, Baritone Saxophone
Trumpets: Tom Snelson; Ken Brader; John Hoffman; Dale Thompson
Trombones: Larry O’Brien; Eric Culver; Randy Purcell; Dennis Good
Piano: Tony Monte
Bass: Lanny Fields
Guitar: Jay Patten
Drums: Danny D’Imperio
The Moonlight Serenaders: Annette Sanders, Arlene Martell, Al Dana, Paul Evans, Kevin DiSimone

[READ: April 25, 2017] The Art of Wordless Storytelling

This book is a companion to an exhibition of Wiesner’s art at the Santa Barbara Museum of Art.

Wiesner has created some of the most beautiful children’s pictures books ever.  And most of them have no words at all.  His books include Free Fall (1988), Hurricane (1992), Tuesday (1991), June 29, 1999 (1992), Sector 7 (1999), The Three Pigs (2001), Flotsam (2006), Art & Max (2010), Mr Wuffles! (2013) and Fish Girl (2016).

This book taught me that all of his art is done in watercolor and done in such a way that he adds layer upon layer of color to create intense depth of color and shade–I’d always known his art was great but had no idea why.  But then I read that when most books are created they print all of the colors at the same time, effectively muting his work.  So all of the subtlety in his work is lost when it comes out in book form.  His original drawings and paintings sound breathtaking.

In addition to seventy some plates of paintings, this book contains a few essays and Q&A with Wiesner. (more…)

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