Can You Be A Kick-Starter?

David Crossman, author of the popular "Bean & Ab Mysteries", is about to undertake a very exciting project.  His novel, "Secret of the Missing Grave, is destined for the silver screen, as he and his team of professionals bring the story to life!

When I first heard the details of the project, what I really liked was the fact that they specified it wasn't going to be all pumped up with effects and computer generated monsters.  I've always thought that modern movies rely too much on technology and not enough on story.  Crossman and Crew are hoping to change that with a movie that is about characters, friendship, and facing fear together; in stories that appeal to young people, this is far more important than dazzling the eye with lots of shiny things and bling that end up doing nothing for the heart.  I think people would love a good, scary mystery that works the mind and keeps them on the edges of their seats!

Here's what Crossman has to say about the project:

"So, it's 1920 and a guy named Walt Disney comes to you and says: 'How'd you like to invest in an animated mouse?' Well, I'm looking for the kind of person who would have answered with a resounding 'Absolutely!'

"I hope that some time over the last decade or so you've taken the opportunity to read at least one of the books in my Bean and Ab adventure series for young adults. We have, just this minute, launched, via KickStarter, an effort to raise funding for the production of a full-length feature film.  First on our list, The Secret of the Missing Grave, is something we hope to get into production in the summer of 2014."

KickStarter is a web based venture that allows creative possibilities to reach you and me - the public.  We are the ones who know what we like in art, whether movies, music, books, or other creative fields.  But we usually have to take what's out there, without too much say.  KickStarter allows people to have a voice in the types of (in this case) movies that get made.  The idea is that we are invited to help these projects get off the ground by aiding in the funding.

Crossman asks:

"Please take a moment to review the particulars, which you will find at the link below, and, if you believe, as I do, that there is a need for exciting entertainment that the whole family can enjoy together, contribute whatever you can - from $1 to a million - to our production fund. We only have 60 days to raise the full amount, so pre-production can begin on schedule."

I ask everybody who reads this to take a look at the promo page for "The Secret of the Missing Grave", and to consider donating what you can to help get this worthy project off the ground.  Your kids will thank you for it, and that's thanks enough!

The Secret of the Missing Grave movie 

Pass the link on to your friends, post on Facebook and Twitter, MySpace, Twitless, TwitFace, YourSpace, OurSpace, TheirSpace, OuterSpace, etc., etc. and let's get things going!!

http://davidcrossman.com/ 

Larry Graham - Still Got It!

Album Review

Larry Graham and Graham Central Station's RAISE UP

Genre: Funk

Larry Graham and Co. had been rehearsing this album for a long time in their stage-shows, and it finally seemed as if the moment was exactly right to lay down the tracks in the studio.  With the exception of Stevie Wonder's "Higher Ground" and Al Green's "Ain't No Fun To Me", all tracks were composed by Graham, which shows the man is truly not ready to call it a day.  You can tell just by listening to this album that the arrangements are all based on the feel of a live show; this is why I continue to love GCS - every song is a party, and I'm always invited. Even the more introverted songs are stories made to be told to a live audience.

The songs have all been beefed up for the new age, yet continue to maintain all the grooves that make (and have always made) Larry Graham such a powerhouse in funk. In every song lay the roots of 70s funk; Graham re-invented bass for the 70s, and brings that feeling with him every time he picks up the white earthquake-maker. All the new recording and sound technology is well incorporated into the production, but you never forget the true meaning of GCS: to make the listener happy.

Ten-HUT! The album opens with the infectious, foot-stomping GCS DRUMLINE. No bass, but all the rhythm you can handle! The snares are played by Graham, Brian Braziel, Wilton Rabb, and David Council. James McKinney handles the cymbals, and when Ashling Cole hits the whistle, you know you're marching into the funkiest thunder ride you'll ever take!

The drumline leads into THROW N DOWN THE FUNK, a raunchy, horn laden (The Millfield Horns) slap-bass groove that's become a staple at GCS live performances. Plus, it features the "each musician introduces him/herself and shows off the chops" thing that originally hooked me in Sly & The Family Stone's DANCE TO THE MUSIC. Back then, when I heard Graham say "I'm gonna add some bottom, so that the dancers just won't hide" I almost jumped out of my chair when that bassline hit the air! Larry Graham officially became my hero that day, and I was only eight or nine years old!

On THROW N DOWN THE FUNK, when he says "They call me Graham as in 'Graham Central Station'. Let's spread the love to all peoples, tribes, and nations", it doesn't have quite the same effect as "I'm gonna add some bottom", but his voice is still powerful, and his bass still gets my can out of the chair... y'all.

IT'S ALRIGHT is as great as it's always been. I picture the band members doing that unified four-left and four-right step across the stage as they play. The bass groove in the middle of the song is thunderous and heavy, and is (in my usual opinion) the highlight of the track.

Prince joins the party (guitar, drums, keyboard, vocals) on RAISE UP, a monstrous, spiritual testimonial that doesn't need the likes of me to describe its emotional power. The words are significant and current to today's world, but it's the music that tells the message. Graham's baritone thunders beneath Prince's high falsetto, and it works so big and bad. Wow.

SHOULDA WOULDA COULDA is Graham and Prince again, all mellowed out for the first slow-dance of the party. Though Graham's bass drives the song from underneath, his voice drives from the surface. This is the sweaty, up-close and personal kind of song we all danced to in high school.

WELCOME 2 OUR WORLD is an infectious acapella minute (actually, a minute and two seconds). There's a lot of flavour in those voices. Learn the parts one by one and sing them all as you play the song over and over. Or get four other friends together and make it a challenge.

Taking another one from the vaults, IT AIN'T NO FUN TO ME is the old Al Green tune that GCS did up in the 70s as part of their debut album. Better than ever, newly mastered, and just as funky... maybe even a bit more. I love the horns. I don't know if others will feel it, but I get kind of a James Brown vibe off this one.

Get ready for GCS' version of Stevie Wonder's HIGHER GROUND. It's not just a cover; GCS brings a whole 'nother feel altogether to this one. Wonder's version is the king, and rightly so, with its straight forward driving delivery, but this version features more levels and directions. It's more involved and three-dimensional. Ashling Cole on lead vocals has complete control of herself; she's no weakling. She can't be to sing this one.

NO WAY is a moody, sensual, but slightly angry tune. He sings of promise that he will never hurt her, never do her wrong or make her cry, but to these ears, it almost sounds like an apology after these things have already been done.

I love HOLD YOU CLOSE, the second ballad of this funk opera, more than the intense SHOULDA WOULDA COULDA. This is just a beautiful love song. You can slow-dance or sit this one out and just watch the couples on the dance floor. Just stand off to the side and enjoy. Remember Johnny Mathis singing TWELFTH OF NEVER? This one's in the same vein.  Graham plays both the bass and keyboard on this one, with Mario Dawson on drums.

MOVIN features Prince again and also more of those tasty "featured instrument" sections. Let me hear your organ. Can I hear your guitar? Can you make the keyboard move me on? (great boogie woogie, by the way) and I'ma make the bassman move you on. (tech enhanced). Too cool.

By now, we're ready for another remastered GCS tune from "back then." DO YOU WANTA DANCE puts Graham on both bass and the "talk-box". The beat of this song is grinding and slow, just the way I like all my funk.

The album ends with ONE DAY, a final message of hope (with guest guitarist/vocalist Raphael Saadiq) . It's a real "resolution" song. If an album is well-staged, it starts with a promise and ends with a resolution. Whether a happy or sad one, the closing song must wrap things up. This is a perfect resolution song.

All in all, I think that - even though it's classified as funk - RAISE UP is a concept album. Each song is a funky gem unto itself, and can be enjoyed solely for beats and grooves, but the whole concept of overcoming adversity is the theme. Here's what Larry Graham says about it:

“The music on this album is like a live performance. I wanted to tell a complete story, with a great beginning, a powerful body and a dynamic conclusion. I want that story to be uplifting and encouraging, something to help people rise above whatever challenges they’re facing in life - whether it be personal issues or family issues or work issues. Everybody’s dealing with something. I want this music to help raise people up and enable them to overcome adversity.”

Larry Graham Online

© 2012 CL Seamus for Thunder Row

HBC - Jazz On Its Ear

Album Review

Scott Henderson, Jeff Berlin, Dennis Chambers - HBC

Genre: Jazz Fusion

When you first scout out this album, it'll tell you it fits in the genre of Jazz fusion, but really it's a whole lot more. The diverse stylings of these three musicians coax the tunes in every direction imaginable, yet never do they stray completely from the improvisational, inspired feel of their mother Jazz. It's either a blessing or a curse that I know little of these men's previous works, or the places whence they draw their inspirations. Though extra insight and knowledge would make me a more experienced listener, it would spoil the pure, child-like wonderment I feel every time I listen to something that's being released this deep into an already long-standing musical history.

Hey, I'm just a listener.

At over ten minutes in length, Actual Proof is definitive fusion. Berlin's bass and Chambers' drums argue in excitable staccato rhythm with each other. Henderson's sharp, raunchy guitar takes the opening song to the edge of prog rock. Just after six and a half minutes into this piece, Berlin's rapid-fire bass stops you in your tracks and turns your ears to the speakers like a puppy when someone picks up a can opener. Something you need, something you hunger for has just come to life. As lovers of bass, we're all going to be stopping to pay attention when the scent of this special treat fills the air.

Mysterious Traveller easily stands out as my favourite right from the get-go. It's ethereal, sweeping, thunderous, cosmic, experimental, all the things I love in music. Add to that some real hard-nosed riffs and rhythms, and I'm right there; wherever this Traveller wants to go, cut me a ticket and let's ride! Berlin's bass is scary and growly, and makes you a little anxious of the destination, but you'll still dive in head first. Once again, Henderson gives us a lot of serious howl from his guitar, and Dennis Chambers lays down some big, bad drums. Think of this one as the Jazz trio's answer to Edgar Winter's "Frankenstein". At the end, it steers into the stars and lays you to rest in its wake. Nice.

Footprints is much softer than the two previous songs. It almost has the feel of a Holiday song. Hey, it's the most wonderful time of the year. Hotcha! Smooth, gentle, thoughtful, and, yes... Christmas-y. People might think that's a strange analogy, but the comparison popped into my head from the first note, so it must be stored somewhere there in my music memory. Of course, this one's not a waltz, so I simply relaxed and bopped along in my seat. Wonderful featured solos all around! Chambers blows it up with his drums. Chops aplenty!

D Flat Waltz. Big and dangerous! Bass that thunders to the heavens! A twelve minute odyssey that reminds me that you don't always need a whole bunch of instruments to create full sound. The spaces here are filled out and busy with plenty of flavours to keep those ears happy! Three men, each occupying the perfect place. You say, "I hear bass, I hear, guitar, I hear drums." But the whole ends up being so much bigger than the sum of its parts!

The Orphan is on whole 'nother plane to the rest of the songs. At just over three minutes, it's also one of the shorter tunes. But in that small space, Jeff Berlin's bass sings a melancholy tune that stirs serious emotions in the listener. The sad, pleading voice in the middle is accompanied by clapping (or slapping); as this song ends, you wonder what becomes of the Orphan. And you worry.

Sightseeing. After blinking away the situation of The Orphan, we are whisked back into the jazzy tunes. I wondered why The Orphan was placed in the middle of the roster like that, but as I listen to Sightseeing, I can almost understand it - Sightseeing sounds different when you listen to it on its own than when listened to right after The Orphan. It's like an extension. It fits. After Sightseeing was over, I noticed that I hadn't listened to bass, drums, and guitar; I had listened to a story. That's when you know an album is reaching you - when you let go the notion of listening critically, and start listening with your soul. There's a lot of skill in this project, both as music, and as a story told in a specific order. I am very appreciative of that effort.

Wayward Son Of Devil Boy is a sizzling groove that sends you into a basement lounge somewhere in the middle of the night. Smoke filled, low lighting, maybe a few dangerous hood-types lurking in corners. Scott Henderson owns this piece with his guitar. Bass and drums serve as complement to his limelight. And what a showcase it is, too! Talk to me, Mr. Six-string!

Threedom, the other short piece on the project, is a rich bass solo that boggles the mind in its depth and intensity. Only skill and a real musical heart can make a bass sing like this! My only criticism (and yes, it happens) is that I've never been a big fan of a lot of zipping finger noise on bass strings. It's real and it's natural, but it kind of distracts from my enjoyment if it's too loud in the music. But zipping aside, it's an absolutely beautiful bass number!

Stratus. The closing number brings us back to the trio at its finest. Rock, Jazz, Prog, it's all on stage for the finale. I get a little "Ball Of Confusion" off this one, bass-wise. And that's good. Dennis Chambers' drumming is subtle and encouraging, and then goes wild toward the end. A superb finish to a tasty meal.

All in all, this was a remarkable outing. So, is my naiveté about the music and history of these men a blessing or a curse? All in all, I think it turns out to be a blessing. Now I can go find more to listen to!

Um, but not today... my ears are full.

© 2012 CL Seamus for Thunder Row

Alberto Rigoni - The Wisest Of Them All

Album Review

Alberto Rigoni’s THREE WISE MONKEYS

Genre: Progressive Rock

Whenever I listen to a concept album, I always want to dive deeply into the story, the meaning and the journey of the whole thing. By the time I write the review, I don't want to focus solely on the musicianship, but on the impact the album has on me through its telling. I also like to read other people's reviews; this helps me understand how the music reaches them. In the case of Alberto Rigoni's new retro-prog album, "Three Wise Monkeys", I'm (so far) noticing a lack of feedback from reviewers on how the story made them feel. What did they take away from the message? There's plenty of (well-deserved) praise to be found for the quality of the project as a musical endeavour, but I'd love to hear what others are feeling in their hearts and minds. After all, music should move us and take us places!

Anyway, though I DO have a take on the album as a musical accomplishment, I'd like to express a few thoughts up front about what the story means to me. First of all, a good prog album will usually tell a story from the vantage point of one (or all) of the three forms of conflict: man against the world, man against his brother, and man against himself.

Three Wise Monkeys makes me imagine a man, standing before the Toshogu Shrine in Japan. He looks at the panel which depicts the three monkeys: Mizaru, who covers his eyes, Kikazaru, who covers his ears, and Iwazaru, who covers his mouth. The man contemplates the meaning of the message. To see no evil, to hear no evil, and to speak no evil. What does it mean? To be a moral man? To stay away from evil things and walk in the footsteps of righteousness? This interpretation is a common one, and many who view the panel will adopt it as their own. To be decent and God-fearing.

The other interpretation is a little more sad and sinister, and it is here where we find that the man standing before the shrine is Alberto Rigoni. This interpretation says that Man sees a world of evil and cruelty, but intentionally covers his eyes, his ears, and his mouth, so that the evil will not penetrate his consciousness. The ostrich with its head in the sand, seeing injustice, but taking no stand. Man against the world, man against his brother, and man against himself.

With his musical stories, Rigoni will always ask the questions, and as long as he continues to do so, we, as listeners, will always have meaningful prog music over which to mull and consider the state of things.

An excerpt of the lyrics from the title track, Three Wise Monkeys, says...

Three wise monkeys' golden rule - looking the other way 

Pretending that you are a fool, 'cause you don’t wanna play 

Willfully turning a blind eye to all immorality

And from the angriest song on the album, Blackened Tornado...

I'm a victim of my own thoughts 

My mind is sick and I can't go on

I can't see what's reality 

It's like a nightmare living in a dream

The album's powerful message about Man's refusal to see, hear, or speak when something terrible is happening leaves me with a chill when I look in the mirror. Where do I sit in the row of monkeys?

What's calming about a concept album is when it offers music of solution and change. The song, Between Space And Time, gives the listener a gentle reprieve and reminds us that the Universe always seems to know what's what, and will hopefully guide us to the right places. The opening number, Toshogu Shrine, where the man stands and sees the monkeys, also offers us a place of calm.

A good concept album should make us think, even if the events within aren't our own. For the duration of the music, they become our own, and that is the starting point for uncovering our eyes, ears, and mouths.

Alrighty then. Folklore and story aside, let's examine the music itself. In the first section, I referred to the genre as "retro-prog." I've seen this term used a couple of times on websites; it defines the type of music traditionally called "progressive" but which also feels very retro, like 70s music, mostly. Three Wise Monkeys feels exactly that way. I hear Supertramp doing "School." I hear Rush (no particular song, just the feel); I even pick up a little taste of Queen - something like, say, "Flick Of The Wrist." That's the kind of diversity you hear in this album. Heavy bass, angry, aggressive lyrics, always on the brink of Armageddon. Mixed in with the heavy metal flavour is a delicate, sweeping melodic element, Oriental in places. Every song fits in exactly where it should to tell the story, and every song is a true delight. Experimental and soaring.

The three songs of the monkeys, Mizaru, Kikazaru, and Iwazaru, are my fave pieces in the concept theme, and come together as a trio of bass delights that will chill you to the bone. Put your headphones on and try NOT to be amazed! The most beautiful song in the collection is Between Space and Time. Gorgeous!

Rigoni's bass playing is magnificent. Subtle, grinding, thunderous, melodic; he knows every inch of the instrument and coaxes it into creating every sound a bass can make. He makes it sing like angels, growl like devils, bark like a dog, and howl at the moon! The rest of the band rounds out the project with feeling and artistic unity. As one, they surround Rigoni's bass playing with depth and meaning. Vocalists Göran Edman and Jonas Erixon, both tasked with giving voice to the story, are spot on in their angst-laden delivery of the concept's troubling questions. Add to this the driving drums, screaming guitars, and the gentle keyboard interjections, and we are treated to a truly intense musical odyssey!

Rigoni is right at home as both leader and follower. Though his bass playing is the featured star, he takes no spotlight away from the other musicians. You never say, "This is Alberto Rigoni with some guest musicians." It is a fully realised group effort, with every man holding his own and shining when the moment is right.

MUSICIANS

Göran Edman (vocals on track 3)

Jonas Erixon (vocals on tracks 5, 7, 9 & 10)

Kevin Moore (keyboards on track 2)

Federico Solazzo (keyboards on tracks 5, 6 & 9)

Mistheria (keyboards on tracks 8 & 10)

Alessandro Bertoni (keyboards on track 3)

Tommy Ermolli (guitars on tracks 2, 3, 5, 9 & 10)

Simone Mularoni (guitars on tracks 7)

Mark Cross (drums on track 7)

Paolo Valli (drums on tracks 2 & 9)

Paco Barillà (drums on track 3 & 10)

Sebastian Persini (drums on tracks 5 & 6)

TRACK LISTING

01 - Toshogu Shrine

02 - Mizaru

03 - Three Wise Monkeys

04 - Kikazaru

05 - Blackened Tornado

06 - Iwazaru

07 - Free Falling

08 - Between Space and Time

09 - Coming Home

10 - Believe

This latest album is (so far) the pinnacle of Rigoni's recordings. He has matured into a true bass tour de force. Three Wise Monkeys is retro, progressive, thoughtful, and oh so delicious to the ear of any bass lover! Molto meraviglioso!!

© 2012 - CL Seamus for Thunder Row

_________________________

Click HERE to order your digital copy, or a CD DigiPack, signed by Alberto himself!!

LINKS

Alberto Rigoni

YouTube

An Evening With Kai Brant

Album Review

Kai Brant (featuring Martin Motnik) - The Way You Look Tonight

Genre: Jazz

In this new compilation of standards from stage and screen, Kai Brant tackles some of the biggest, most classic songs ever written. If you recognise the line-up, you might find yourself feeling a bit old, but Brant's voice and stylings make you feel young again - like it's the first time you're hearing these saucy old-time ditties. Brand new, all over again! Add to it the brassy tones of Martin Motnik's fretless bass, and you have a collection of tunes well worth an all-night listen. And maybe into the next day, too.

Brant sings the standards true; the melodies are as they should be. That soothes me with a real sense of comfort. When I hear a classic being sung anew, I want to be able to sing along with familiar confidence. Brant delivers all the necessary attitude and experience, and I go right back to the olden days, smiling that the lady has done right by these timeless tunes.  Yet, there are those moments when she strays just enough from the path to add some real kink to the story-telling. When she throws in a change, and I continue to sing the original melody, she and I come together in vocal harmony, and it draws me even further into the experience. I become part of her performance. It's as if she chooses new and different tones for the sole purpose of inviting me in.

You and me, Kai Brant. You and me. Let's shake it out a bit with "The Way You Look Tonight." Attitude rubs off, don't you know?

Featured bassist, Martin Motnik's choice of a fretless electric instead of a stand-up brings an entirely new feel to the music. He's got his mwah on big time, but since Motnik plays the stand-up as well, the mwah is guided by the hip-swaying authenticity of the big bass, and it works. Oh yeah, it works. Such a noticeable presence to complement Brant's voice. I swear to you all, on the last track, George Gershwin's 's Wonderful, Motnik's bass actually seems to pronounce the lyrics during his solo in the middle. The fretless just sings sweetly to us. Listen to it and tell me you can't hear it singing 's Wonderful.

Add to the atmosphere some fine, delicate piano and jazzy snare brushes, and you have a special evening before the fire, slow dancing with the one you love. Close your eyes and you're there!

Here's the album's line-up:

01 - Whatever Lola Wants, Lola Gets

02 - Summertime

03 - The Way You Look Tonight

04 - Manhã De Carnaval

05 - Why Don't You Do Right

06 - My Funny Valentine

07 - Feeling Good

08 - Besamé Mucho

09 - Autumn Leaves

10 - 's Wonderful

If you know these tunes, you probably already have a favourite singer and a favourite way you remember each one. Do you prefer Dinah Shore? Ella Fitzgerald or Eartha Kitt? Maybe a newer version. Maybe some Norah Jones? Pick any of the classy ladies (and sometimes men) who have delivered these numbers throughout the years. Kai Brant and her performances on this album are destined to find their place on that exclusive list.

I'm known to say things like, "I love the Eartha Kitt version of Whatever Lola Wants, Lola Gets", but from the first listen of The Way You Look Tonight, I will now add to my critique, "Have you heard the Kai Brant version?"

She's a new standard with the standards!

I recommend "The Way You Look Tonight" to all lovers of beautiful music and beautiful voices.

© 2012 C.L. Seamus for Thunder Row

Visit Kai Brant online.