Chuck Brown

WJLA (TV) News in Washington D.C. reports:

Chuck Brown, the legendary musician who is known as the “Godfather of Go-Go,” passed away Wednesday,  his daughter confirmed to ABC7′s Sam Ford.Brown died Wednesday at Johns Hopkins University Hospital in Baltimore. Hospital spokesman Gary Stephenson confirmed Brown had died after a hospital stay that began April 18.

His publicist says the cause of death is multiorgan failure due to sepsis.

Brown’s passing comes about a week after the Washington Post confirmed that the musician, considered  the pioneer of Go-Go music, had been hospitalized with pneumonia.

Brown’s 1970 hit, “Bustin’ Loose,” hit #1 on the MCA charts. The song was later sampled in the 2002 Nelly song, “Hot in Herre,” which won Nelly a Grammy.

He had recently postponed numerous shows due to his failing health.

“Go-go is D.C.’s very own unique contribution to the world of pop music, and Chuck Brown was regarded as Go-go’s creator and, arguably, its most legendary artist,” D.C. Mayor Vincent Gray said in a statement. “Today is a very sad day for music lovers the world over, but especially in the District of Columbia. Without Chuck Brown, the world – and our city – will be a different place. What a loss.”

Read the full story.

Watch him do his hit “Bustin’ Loose” live at the 9:30 Club in Washington, D.C.

Click here to view the embedded video.

Amina Figarova

Pianist/composer Amina Figarova brings a family affair to the Mission Theater on Thursday, May 17, 7:30pm, $15, $10 student tickets with ID (general admission, first set only. Students under 21 need to be accompanied by an adult, seating is in the balcony. This show is a part of the PDX Jazz at the Mission series.

She is touring with her husband and flutist Bart Platteau off of their new album, Twelve. Amina was born and raised in Baku, Azerbaijan, Bart is from Belgium and they’ve been collaborting for eighteen years.

Playing in the band at the Mission are also: Ernie Hammes – trumpet, Marc Mommaas – tenor sax, Jeroen Vierdag – bass and Chris “Buckshot” Strik – drums.

Here are some of them in B.C. on April 20 of this year.

AMINA FIGAROVA SEXTET @CEARTE Ensenada, B.C.

Amina Figarova (Piano), Bart Platteau (Flute), Alex Norris (Trompet) Marc Mommaas (Sax tenor) Dean Johnson (bass) Chris “Buckshot” Strink (drums)

Click here to view the embedded video.

Here’s “NYCST” from Twelve:

Here’s what her pr says about it:

A suite of songs for sextet Figarova wrote swiftly in 2011 after moving with her husband and musical partner, flutist Bart Platteau, to Forest Hills, Queens from their longtime European base, Twelve is suffused with the heightened expectations, sense of adventure and fresh perceptions that voluntary emigrés enjoy, as well as the confidence, creative energies and nuanced fulfillment that artists gain from being in the right place at the right time.

UPCOMING PDX JAZZ @ THE MISSION THEATER

Huffingotn Post says:

When Thom Yorke took the stage with Modeselektor at Coachella, no one could have expected it would lead to a video that’s half “Being John Malkovich,” half Sid’s room from “Toy Story.” And yet here we are! Directed by London creative agency FutureDeluxe, the video features a hooded puppeteer (not Yorke), colorful tops spinning of their own accord, laughing toy monkeys set to Modeselektor’s “This” off last year’s Monkeytown, with Yorke contributing to the vocals.

Photograph by Anna Knowlden

Guitarist Mike McCready is best known for his full-time gig in Pearl Jam. He’s also released a couple of records with his side project, Mad Season, featuring the late Layne Staley (Alice In Chains) on the band’s 1995 debut album, Above. Mike also has a UFO tribute band, Flight to Mars, which he formed in 2003 and has used as a vehicle to raised funds and awareness for Crohn’s & Colitis Foundation of America and, more specifically, Camp Oasis for kids. McCready has also spread the proceeds to Advocacy for Patients to help patients with their rights when dealing with insurance companies. McCready and Flight to Mars will be taking part in a West Coast tour with a stop in Portland to raise some much needed funds on May 22nd. Oregon Music News caught up with McCready, who just returned from a gig in Costa Rica. He spoke to us about his love for UFO, living with Crohn’s disease, Mad Season, and, of course, Pearl Jam.

What inspired Flight to Mars?

I wanted to raise money and awareness for the Crohn’s & Colitis Foundation of America about ten years ago when I came out that I had Crohn’s Disease. So I put together Flight to Mars with a bunch of friends. I’ve always been a fan of Michael Schenker and the UFO records he played. There are bunch of like-minded guys here in Seattle who like UFO. I approached (bassist) Gary Westlake and (singer) Paul Passereli about doing it. I said, “Hey, you guys want to do a UFO cover band?” They agreed, nobody has ever done a tribute band to UFO before and we all love the band. Early on it was a vehicle to send kids to Camp Oasis and we’re now also raising money for an organization called Advocacy for Patients, which is run by Jennifer Jaff, who helps patients know their right in the insurance industry. We’re splitting the profits between the two. If there are kids in Portland, go to camp, it takes place yearly.

Can you give us an idea of what Camp Oasis is all about?

Right, there are few of them across the United States. There’s one in California, one here in Seattle, Washington, and there are a couple on the East Coast. It’s a camp that kids with Crohn’s or Colitis can go to. They have full facilities that include doctors, nurses, good food, games, and some great team building exercises. It’s a great opportunity for kids to get together with other kids and learn how to live. They’ll get to ride horses and just be a kid in the summer. The goal is to not make them feel so alienated because Crohn’s and Colitis are diseases that make people, kids specifically, feel alienated.

You mentioned that you personally have Crohn’s Disease. Can you give us a ‘Reader’s Digest’ version of just what Crohn’s is?

Sure, Crohn’s Disease is basically my body attacking my colon, thinking that it’s not supposed to be there. It’s an immune system disease. Just imagine the worst diarrhea that you’ve ever had combined with the worst stomach pain that you’ve ever had in your life and it all happens within two seconds. You have to go to the bathroom right there and then. It’s a total mess, it’s embarrassing, it’s isolating, shameful, and it makes you not want to go anywhere. That’s the best way to describe it. Basically, it’s ulcers on your colon.

I can see where a camp like Camp Oasis would be very important to kids dealing with Crohn’s or Colitis. I could only imagine the shame and stress that school aged kids go through while battling this disease.

Right, you know in school there’s all these ‘cliques’ and all the things that go along with that, on top of that having a disease like Crohn’s or Colitis, it’s got to be devastating. So these kids will go to camp, meet other kids that know what they are going through, shoot each other with squirt guns, and just be kids.

How long have you battling Crohn’s?

Since I was 21 years old. I’ve been on a myriad of medications for it. There have been highs and lows. It’s worked and then it hasn’t worked. I’ve had a relatively mild case compared to people who have had to have multiple surgeries. I’ve never had a surgery but I certainly have had my struggles with it throughout the years. I’m 46 years old right now so I’ve had it for a long time.

Mike McCready, image by riotonsunset

Getting back to the music and Flight to Mars; you concentrate mainly on the Michael Schenker UFO era?

Right, we concentrate the Michael Schenker era and I take on the role of Michael Schenker. I play a Flying V guitar, which he is known for playing. Our other guitar player is Tim Di Julio. I think between the two of us we’re about half as good as a Michael Schenker. (laughs) We try very hard, man. We have a great front man named Paul Passereli who does a great job engaging the crowd and he’s just a great rock ‘n’ roll singer. We really do have a very good band. We also have Gary Westlake on bass, Mike Musburger. who you might recall from The Posies playing drums, and we have Ty Bailie on keyboards – he’s a Seattle-area guy that we call ‘the keyboard assassin.’ We primarily do stuff from UFO’s Strangers in the Night album and we throw in some other stuff.

I’m a big UFO fan myself, though I have to admit the first album I bought was the first album they did with Atomik Tommy, Misdemeanor, which wasn’t representative of UFO since Schenker, Pete Way, and Andy Parker were all gone by that time. I worked my way back to the Michael Schenker era and was hooked.

You’re a fan of the Obsession and Force It albums then?

Absolutely, I think everything from Phenomenon through Strangers in the Night are essential albums.

I’m so glad that you know your stuff, this is good. There’s a lot of interviewers that I have to explain what UFO is all about and what they sound like.

I love Phil Moog as a lyricist and as a singer. He’s got an attitude and wit about him. While he doesn’t have a big voice or high register, he’s among the best and is highly underrated.

Phil has a lower register, he’s got such a fantastic voice. I really enjoy what he did on “Love to Love;” his voice on that song is beautiful. There’s also “I’m a Loser,” which is my favorite song by UFO at the moment. I’m very glad that you know what I’m talking about.

How far back do you go with your love of UFO?

I’d say I discovered UFO in 1978, that’s when I started taking guitar lessons. It was probably my guitar teacher who turned me on to them. I know that the record that I first heard was the Strangers in the Night record, I know that. I recall looking at the cover and liners for hours. I first saw them on the Mechanix Tour after Schenker had left the band. Phil Mogg was perfect and Pete Way was rad.

If you were to recommend an album as the starting point for a rock fan wanting to get into UFO, what album would it be?

I would go with the live record (Strangers in the Night) because they have some of the best live takes of a lot of those songs. You get an opportunity to listen to some unsurpassed, phenomenal guitar playing; Michael Schenker is at his height on that album. Unfortunately, that’s when he left (UFO). I think UFO suffered from that. I’d say definitely get Strangers in the Night, or Obsession is a great studio record. There’s a song on Obsession called “Arbory Hill,” an instrumental, that I got a chance to talk to Michael Schenker about on That Metal Show (Mike’s episode aired May 5th). It was incredible. I was basically on the show talking about Schenker with Schenker! I was totally stoked. Anyway, I asked Michael about “Arbory Hill” and he said that he based that on flutes – if you listen closely it does sound like a classical flute piece.

How long of a set do you guys play?

We rock out for about an hour and half, Ruben. We do the majority of the UFO live record and we’ll do some surprise covers at the end of it. It’s a really fun rock show. It’s a good representation of UFO – it’s us doing it with passion. We’re serious about this, we’re tight, and we have fun with it. You’ll see that in Portland. I love Portland. I get all my tattoos from Jerry Ware there. I love going to Powell’s Books, Mother’s Café, and many other places that I like going to.

Flight to Mars – “Doctor Doctor”

Click here to view the embedded video.

Another band that you’ve been a part of that once included the late Layne Staley is Mad Season. Is there any leftover material that didn’t make the debut album? If so, is there a chance that any of that will see the light of day?

Fantastic question! Funny you should mention that because we are working on that right now. There was another record that we did that, unfortunately, Layne (Stanley) and (Mark) Lanegan didn’t show up for – we did do music for it. There are a total of 11-12 unreleased songs that need a little bit of editing here and there. We’re looking at putting together those songs with singers who are the late Layne Staley’s caliber, if we can find them. I’d also like to find out if we can remaster and then re-release Above. I also came across some live tapes of a live show we did at the Crocodile. I was at our warehouse and found some two-inch tape of the show. I’d love to release all of this by the end of this year – that’s what we’re shooting for. I probably shouldn’t be telling you any of this, but that’s the plan as of the last two days.

You were in Costa Rica recently with another one of your bands and you played with Duff McKagan’s band, Loaded.

Yeah, that was with my metal band, Shadow, which was formed in the early eighties, who really loved UFO. In the early eighties in Seattle there was a metal scene here. It wasn’t all punk like the press would like you to believe. We (Shadow) used to open for bands like TKO, Culprit, or this band called Overlord. We’d play everywhere. So it’s all the original guys from Shadow, minus our old singer, who now lives in L.A. – he’s a manager now and he just doesn’t want to do it. We played a couple of shows at this place called Luxe Lounge, which is owned by a friend of mine. We opened up for Duff McKagan’s band. An interesting side note: Shadow had originally followed Duff down to L.A. years ago. The night before Duff moved to L.A. he came down to Shadow’s rehearsal space and he said, “Hey, I’m moving to L.A., guys.” We all said, “Okay, cool, man.” Six months later they (Guns N’ Roses) are releasing Live Like a Suicide. We looked at each other and said, “Whoa we’d better get down to L.A., there’s nothing happening in Seattle.” As we left, everything starts to happen in Seattle! (laughs) It was around that time that I discovered that I had Crohn’s and that’s why I ended up coming back to Seattle.

Mike, with many musicians writing books, among them your friend Duff McKagan, will we be seeing a book from you in the near future?

I think right now, Ruben, I’d like to have more stuff to talk about than just our band… Yes, I have thought about writing a book. Right now I’m pursuing scoring movies and television. I just finished an independent film called Fat Kid Rules the World. It’s directed by Matthew Lillard. That’s a new way of writing music because it has to be done behind the scenes and it’s not as important as what the actors are saying or doing. That’s a different way of doing things because, as a guitarist in Pearl Jam, I write music and I want it all to be heard. Doing subtle stuff is a different practice. I’ve also done some stuff for the TV show Fringe, so that’s where my passion is at the moment. Having said that, I will probably be doing a book someday – just not right now.

Last question: What’s the plan for Pearl Jam in 2012?

We’re in the middle of doing a new album with Pearl Jam. We have in the area of about 15 or so demo ideas and Ed (Vedder) is in the process of writing lyrics. We’re working with Brendan O’Brien again; he’s our captain, our leader in helping us through this. We’re doing a show in the States in Pensacola, Florida, in September, and we’re doing a month-long tour of Europe in June. Matt Cameron is very busy; he’ll be out with Soundgarden and the rest of us are doing separate things. So we will have a new record, but not until next year.

Flight to Mars will play at the Hawthorne Theater on Tuesday, May 22nd. Opening are Vendetta Red and Hedley Grange. Doors 7pm, show 8pm, 21 & up. Tickets $20 advance, $25 day-of-show.

Eddie Jobson, John Wetton and Terry Bozzio

The last time drummer Terry Bozzio played at the Aladdin Theater, he and former UK guitarist Allan Holdsworth, along with King Crimson members Tony Levin and Pat Mastelotto, played largely an improvisational set.

This time Bozzio returns on Thursday, May 17 with the re-formed progressive rock trio, UK, this time with bassist John Wetton and keyboardist/violinist Eddie Jobson. Tickets $39.50, limited VIP tickets $100 (early entry, sound-check & meet~n~greet). Minors are also allowed accompanied by an adult, doors 7pm, show 8pm, tickets.

Eddie Jobson met John Wetton when Bryan Ferry recruited the acclaimed ex-King Crimson bassist/vocalist to play in Roxy Music. Jobson played on Siren and Country Life, and he and Wetton both play on Viva, the live Roxy Music album from 1976.

Click here to view the embedded video.

When Roxy Music went on hiatus, Jobson took a support gig with Frank Zappa as part of the big band on the live Zappa in New York.

Click here to view the embedded video.

The trio configuration of UK came together after the departure of original drummer Bill Bruford and guitarist Allan Holdsworth. Jobson recruited Bozzio based on their stint together in Zappa’s band, and a new, streamlined version of UK was born. Together these three players made two recordings together. The first of these was Danger Money. Without a guitarist, the instrumental focus relied on Jobson’s Keith Emerson-style keyboard attack, matched with his singular violin pyrotechnics, the pre-Asia vocals of Wetton, and a gigantic drum attack from Bozzio.

Terry Bozzio at his drum set

The group played a series of opening-act gigs for Jethro Tull during Tull’s Stormwatch tour of 1979, and headlined a few other shows on the tour, eventually recording the live album Night after Night. UK broke up quickly after that, citing a divergence of musical interests among its members. After UK, Wetton founded Asia with ex-Yes guitarist Steve Howe. Bozzio went on to form Missing Persons with his wife Dale and Zappa guitarist Warren Cucurullo. Jobson himself went onto make his first solo recording, Zinc – The Green Album, which also featured former Gentle Giant guitarist Gary Green along with an ambient CD entitled Theme of Secrets on the Private Music label.

Jobson has been touring with variations on the old UK lineups for the past three years, first with the double drumming attack of UKZ, and then with last year’s four-piece UK tour with Wetton, drummer Marco Minneman (now on tour with Steven Wilson’s band), and guitarist Alex Machacek.

Click here to view the embedded video.

Regardless the line-up the show is not to be missed for fans of a bygone era.

Music video experimental group cdza (who you may know from “History of Lyrics That Aren’t Lyrics“) covers the brief past of whistling in music in their video “History of Whistling” by, well, whistling.

“History of Whistling” is a three and a half minute, single shot of 26 songs that include whistling spanning 98 years. The video features serious expert whistler Eric Rivera accompanied by a couple musicians.

In the video, Rivera whistles songs like Lt. F.J. Ricketts from 1914 all the way up to Maroon 5′s “Move Like Jagger” from 2011. It’s a comprehensive, hilarious, and impressive sweep of the history of whistling in music.

• How is Linda Hornbuckle’s Jazz singing coming along?
• What have the Quadraphonnes added to their book as they prepare to record a new album?
• How will the Guitar Summit build on last March’s annual concert?
• Will Janice Scroggins play Scott Joplin solo during her set with Reggie Houston?

The festival happens this year on Saturday, May 19, noon to 9pm, Tickets for May 19th only will be $20 which includes access to the outdoor Wine Garden and Jazz Main stage plus jazz in a few smaller venues, tickets. For the third year, OMN will be a Media Sponsor. Here’s what we did in 2010 and 2011.

The fun kicks off at noon in front of the Palace Theater and features the Silverton and Sherwood High School Jazz Bands.

Here’s the schedule at the Stage in Town Square Park

Photo credit: Portland Opera/Cory Weaver

Portland Opera closed out its season with a very strong performance of Leonard Bernstein’s Candide on Friday evening (May 11) at Keller Auditorium. After its premiere in 1956, Candide has undergone a number of revisions, and the operatic version that Portland Opera presented, directed by Christopher Mattaliano, conquered the numerous episodic transitions with evocative scenery and projections that were designed by Jerome Sirlin.

Based on Voltaire’s novella, Candide satirizes the hero’s naïve belief in the goodness of all things. During the story, lots of bad things happen: warfare causes a town to be destroyed and lots of people die, there’s a shipwreck, Candide is flogged at the Inquisition and his teacher is hanged, money and goods are ruthlessly stolen, Candide’s true love, Cunegonde,  is the pawn of other men, and that’s only part of the tale. But in the end, Candide and Cunegonde find the heart and courage to make a new start

Jonathan Boyd embodied the title role with a strong, resonant voice that radiated optimism and wonder. He also delivered a sense of lyric tenderness, especially when he sang “Candide’s Lament” and “Nothing More Than This.”  As Cunegonde, Rachele Gilmore sang and acted superbly. Her singing of “Glitter and Be Gay,” with some stratospheric high notes thrown in, was a show-stopper.  Robert Orth flawlessly created four roles (Voltaire/Pangloss, Cacambo/Martin), and his growling “Ha!” from “Words, Words, Words” seemed to linger on the stage as a summary of mankind’s condition.

It was difficult to understand some of the Old Lady’s spoken lines, and that may have been due to Ann McMahon Quintero’s microphone or to her faux-gypsy accent. André Chiang struck just the right pose as the vain Maximilian (son of Baron Thunder-ten-Tronck).  Caitlin Mathes’s saucy Paquette had plenty of spice. Mark A. Thomsen sang robustly as the lascivious Governor and as the gleefully devious Vanderdendur. Matt Pavik, Shawn Rogers, and Nicholas Nelson displayed impeccable comic timing in several roles.

A very active chorus, well-prepared by Adam Turner, added gusto to the storytelling, especially when the chorus members hammed it up during the Inquisition scene. Their singing of “Universal Good” and “Make Our Garden Grow” (with the principals) became highlights of the show. The orchestra, led by Cal Stewart Kellogg, gave a spirited performance but stumbled on some notes.

Overall, the scenery and props, originally created by Austin Lyric Opera, wonderfully conveyed the satirical quality of the story. The digitalized projections seamlessly allowed Candide and his companions to travel thousands of miles in minute or two. Garish colors saturated the townscape of Westphalia, and they turned to grey when the town was bombed and sacked by an invading army. Red tones imbued the lusty governor’s palace in Buenos Aires and the casino in Venice beckoned with the sparkly veneer of opulence.  Vertical strips of scrim were used to create a forest that Candide wandered through.  When things were looking up, the foliage was green and lush; when things were badly, it turned ashen. Warm light bathed the stage for the final scene, “Make Our Garden Grow,” reflecting the resolve of Candide and Cunegonde to build a home with lessons learned.

Photo credit: Portland Opera/Cory Weaver

Click here to view the embedded video.

Get the song on itunes. Free slap bracelets with signed posters. TOBUSCUS Zip Hoodies. (free Slap Bracelet with zip hoodie purchase).

Fans.

DRAMATIC SONG by Toby Turner

This song sounds dramatic
but I’m bad at writing words.
If you don’t speak English,
this probably sounds pretty good.

You’d probably think I’m singing
bout some pretty serious stuff.
But in reality, I’m singing ’bout
the lack of stuff i’m singing ’bout.

Toby Turner

This part’s intense.
And emotional.
As long as you don’t understand it.

Your foreign grandma
would love this song.

Please send it to her,
and she’ll probably tell her
foreign friends about the song her
grandson or daughter sent her today.

This song might hit the charts in her country
if parts sounded like Coldplay.

If the chorus sounds like Coldplay.

Then I put some ‘La-La-La’s in there.
La la la la la,
la la la la la la la (Coldplay)

Hopefully your foreign grandma
listens to this song everyday.
And if she asks you to
translate the lyrics, here’s what you say:

“A perfect translation does not exist.
Well, at least, not in your language.
But if you must know, well, picture this:
Fifty billion rainbows,
and the sun is setting,
and the moon is setting, also,
and you’re there in a gazebo.
And then God descends from heaven
and He gives you a million dollars.
Take that feeling,
and put it into a song.
I could translate word by word,
but that’d take too long.
And I’ve got stuff to do grandma.
I don’t have time for this.
You’ve gotta trust me grandma,
this freakin’ song is brilliant.”