Jonathan Pirro – Page 3 – Spinning Platters

Film Review: Miles Ahead

Cheadle is mesmerizing in his seemingly-effortless trading of cinematic duties for this thrilling tale.

If there is only one thing that you learn about jazz, it’s not the instruments that make it up, nor the time that it was most popular, or even the players that were significant in its creation. That one crucial thing is that jazz is an improvisational story being told in musical form; it has its own cast of unreliable narrators who are making up the tale as they go, each twist and turn more intriguing than the last. It is a palette for painting pictures where the hues and overall artistic movement could shift at the drop of a hat. Whether the story is based on the truth, or a marvelous work of fiction, is less important than the journey there, and the anecdotes told along the way are what add the most excitement to it all. It is, therefore, very appropriate to take an approach to creating a biopic about a jazz icon in a style that best reflects the character of the music — a feat undertaken spellbindingly by actor Don Cheadle, who both stars in and directs Miles Ahead, the 2016 tale of musical virtuoso Miles Davis.

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Show Review: An Evening with Loreena McKennitt at the Masonic, 3/19/2016

Canadian queen of Celtic melodies returns to San Francisco for an austere and intimate performance

“Surreal” is probably the most appropriate word to describe how the evening felt this past Saturday night, when Loreena McKennitt returned to the Bay Area for the first time in nearly 10 years and treated a sold-out crowd at The Masonic to a gorgeous performance that stretched on for nearly three hours. There were no opening acts to speak of; there was only one encore (albeit with two songs), one intermission, and three musicians onstage for most of the concert. At the center of it all was a fantastic performer who, now in her 31st year of performing, sounds just as powerful and mystifying as she did on her albums from decades gone by, both in voice and in instrumentation. It was quite the sight to behold, made more intense by the unwavering concentration and respect of the audience; aside from when the musicians bowed at the end of the show, not a single conversation was to be heard, nor a phone held aloft to document the moment — an extreme rarity in today’s live music scene.

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Noise Pop Show Review: Kneedelus and Kamasi Washington: Two Nights of Jazz in San Francisco

San Francisco’s Noise Pop Festival has been well known for packing hordes of genres and artists into their lineup, but rarely have they picked a collection of artists that are so solidly categorized as jazz musicians before anything else. True to the latter half of its name, the festival tends to want to pick acts that have those hooks and rhythms which you want to sing or dance along to with a common familiarity, or even are comfortable with hearing on the radio. There are, of course, certain acts (like seminal hardcore favorites Drive Like Jehu this year, or Yoko Ono a few years back) that defy such conventions, but you can generally bet on finding the bands to be less on the blatantly esoteric side of things. Thus, it was a bit of a risk throwing some jazz artists into the mix; however, it absolutely paid off, as all four shows (spread across two nights, two artists, and two venues) sold out, weeks in advance, and the two performers — elecronic-wizard-plus-jazz-quartet Kneedelus, and newly-Grammy’d tenor sax master Kamasi Washington — definitely did not disappoint.

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Show Review: UnderCover Presents A Tribute to Green Day’s Dookie at The Fox Oakland, 2/19/2016

A record like Dookie, the magnum opus from the Bay Area’s arguably-most-popular punk band, Green Day, was not so much another album in the shop as it was a sonic bombshell going off, whose waves were felt in scenes across the Earth. The raw energy and youthful vigor had rarely been presented in so straightforward and familiar a manner, especially in a format and at a time that it was almost universally accessible to everyone looking for something refreshing and powerful in the current world. Dookie, by scene purists, may be remembered as the record that shoved one of the loudest, wildest dimensions of the music world into the spotlight, and while they may revile this fact, Dookie’s influence and impact on all music that came after it is undeniable. It still stands tall as one of the greatest records of its age, and one of the most famous to come from the East Bay of Northern California. It was fitting, therefore, that the Bay Area collective UnderCover culled together a collection of local players, all passionate fans of the effect this record had on them in their younger years, to kick off this year’s UnderCover Presents series with a 15-band tribute to one of the seminal works of 90s punk rock.

With so much to cover, I’ll be doing this in the style of the show: 15 mini-reviews of all of the songs, with photos for each, and a wrap-up at the end. Read on!

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SF Sketchfest Review: A Tribute to Patton Oswalt: In Conversation with Boots Riley at the Marines’ Memorial Theatre, 1/16/16

Boots Riley and Patton Oswalt (photo by Steve Agee)

Patton Oswalt, comedian and actor extraordinaire, isn’t sure why he’s getting a “tribute” from SF Sketchfest. Sure, he’s been touring the comedy circuit since ’88, has amassed millions of fans, exudes a remarkably conscious presence on social media, and generally is utterly recognizable in voice, manner, and his own creative palate — but is that really the sort of thing to have a “tribute” for? This, more or less, was the way he asked the question that kicked off the afternoon show, which saw Oswalt discussing his history, perception of comedy in decades gone by and in the modern age, and the vastly-deepening social awareness that exists to meld the worlds of comedy and reality together in (hopefully) wonderful ways. Despite the fact that the tribute was for him, and Boots Riley — the frontman of Oakland’s own hip-hop masterminds The Coup — was the one he was “in conversation” with, Oswalt was the first onstage, and introduced both the show and his guest, and remained the driving force for the conversation for the rest of the afternoon.

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Spinning Platters Presents: The Top 10 Albums of 2015

The competition this year was not quite as violent as that between Wells & Coffey. (Photo: George Grantham Bain Collection (Library of Congress)) — The competition this year was not quite as violent as that between Wells & Coffey.
(Photo: George Grantham Bain Collection/Library of Congress)

2015 marks the 7th consecutive time that the collective staff of Spinning Platters have come together, selected our favorite records of the year, and then spent the following month listening to every possible contender on the list and picking the best of the best. With such an eclectic mix of music — from creative genres birthed into existence, to old artists returning to the fray, and, of course, new works by those still deftly holding fast in the tumult — it definitely made for an interesting set of choices. This year, we had a whopping 54 albums to choose from, and narrowed that list down to our ten favorites over the course of five weeks. Here are the records that made it to the final round.

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Show Review: Puscifer with Luchafer at the Fox Oakland, 12/8/2015

Puscifer (Mat Mitchell, Paul Barker, Jeff Friedl, Carina Round, and Maynard James Keenan)

Let’s get one thing out of the way before this review starts: Puscifer is not a side project. It’s a sprawling, multifaceted, genre-defying, borderline-synaesthetic outlet of artistic expression, the brainchild of Tool vocalist/winemaker Maynard James Keenan and musical mastermind Mat Mitchell — and at this point, they’ve been grinding the axe for nigh unto a decade (closer to twenty years, if you count their brief appearance on Mr. Show way back when), and it absolutely shows. The collective has been refining the elements of what their sound, their mission, and their performance entails, for that entire span of time and 2015’s Money Shot — the album, the tour, the experience — is the next step along the journey within the minds of this collective of visionaries. As with everything released during their career thus far, don’t let the smirk-inspiring record title (nor its positively comedic artwork) lead you into dismissing them outright. If anything, it’s a bit of a relief to know that the men and women of Puscifer have a sense of humor to match the seriousness with which they take their production, both for the live show and the music itself.

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Show Review: FFS at the Fox Oakland, 10/15/2015

Nick McCarthy, Russell Mael and Alex Kapranos of FFS

Just over two years ago, timeless whimsical art-pop duo Sparks made their first appearance in the Bay Area in years, in the form of a stripped-down two-man show that spanned the entire course of their career. What probably WASN’T immediately well known, however, was the presence of members of another band at at least one of those very same shows: Alex Kapranos and the other musicians of Franz Ferdinand, who watched the show as regular members of the audience (and then joined the boys backstage after the gig). This wasn’t the first time that Ron and Russel Mael, the brothers of Sparks, had discussed working with the Glasgow rockers, but this gathering became the impetus to make something even bigger — and less than a year after those concerts, the supergroup FFS (named for the bands that make it up) was formed, with their eponymous album cranked out a few months later. The album and the band are their own unique experiences; FFS has a playfulness that recalls the best work of Sparks, which blends smartly with the bombastic showmanship of a big rock show — the sort of thing that Franz Ferdinand is well known for. Lest fans be worried that there’s a clear divide between the two groups, the truth couldn’t be more clear: the two sets of musicians play off of each other marvelously, and when it all comes together under one roof, the FFS live show is a different experience all by itself.

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Show Review: The Darkness with The Headlands at The Regency Ballroom, 10/11/2015

By now — 15 years after their formation — everyone going to see The Darkness in concert should have a pretty good idea about what to expect, which explains how frantically excited your average Darkness fan is to see their heroes onstage. Current-day concert staples, like visuals and projections taking the lead over physical antics, or an attempt to make all of one’s instruments as virtual or digital as possible, are absolutely abandoned in favor of a glorious, visceral display of rock-and-roll shenanigans. There are wild solos, there are hair flips, there are leaps and bounces off of the drumset, and everything about the gig feels absolutely alive. Neither a smallish crowd, nor a Sunday night timeslot (typically less favorable with the work week looming shortly after), could deter the Suffolk quartet from rocking just as hard as they have ever done, and it was delightful to witness.

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Show Review: Chelsea Wolfe with Wovenhand at The Regency Ballroom, 9/26/15

It’s getting increasingly difficult to find innovation in truly dark music — the sort of sound that disturbs, frightens, and continues to offer intrigue at the same time. A lot of musicians stick to standard scare-tactic fare — blistering static buzzsaws, sampled shrieks, and all manner of cacophonous ear-fuckery — and come off as too abrasive or experimental to be embraced by anything larger than the local noise-rock community. For those less interested in the loud-as-all-hell technique, of course, there’s neo-folk and similarly spooky ilk, but it’s difficult to be taken seriously and/or create the right sort of ambiance — especially when there are so many extremists in the scene that are not ironic in their tales of fantasy and fiction. Every so often, however, someone like Chelsea Wolfe comes along and absolutely lays waste to any detractors or raised eyebrows, likely by virtue of melting said faces off before they’re able to pass judgment. Incredibly dark, massively loud, and chilling in its intensity, Wolfe’s live performance is the kind of shadowy gloom that today’s sonic apocalyptics can only dream to achieve.

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