Ian Axel

Paper Raincoat and Ian Axel at Mercury Lounge

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Lois and I go out of our way to avoid concerts where we have to stand throughout the show. That cuts out a number of top venues in NYC where that’s the norm.

For most rules, there are some exceptions. Last night, knowing we would be standing, we still couldn’t imagine skipping The Paper Raincoat and Ian Axel. We would have gone to see either separately, but together, it was a lineup that was a crime to miss.

In fact, here’s my friend’s Facebook update about last night’s show:

HOLY CRAP!! Okay, seriously if you live in NYC and you did not come out to the Mercury Lounge to hear Ian Axel and The Paper Raincoat tonight you should be ashamed of yourself. A-M-A-Z-I-N-G show!

The only thing that would have added icing to the most delicious (birthday) cake would have been adding Vienna Teng to the lineup. While that magic didn’t happen, she was in the audience, so we were at least graced with her presence. :-)

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Both The Paper Raincoat and Ian Axel had all-star musicians supporting them. I’ll give each of them a shout-out toward the end.

Aside from the always spectacular performances that these artists deliver, last night had an extra-special surprise in store for us. Lois has a birthday this week, and The Paper Raincoat worked up a rendition of Happy Birthday which the jam-packed crowd sang along to.

They were singing the wonderful It All Depends, and toward the end, stopped singing, but continued the beat. Alex Wong announced that their friend Lois was in the crowd, and that it was her birthday, and would everyone please sing Happy Birthday to her. That was cool enough, but he got everyone in the audience to clap a rapid beat (to match the song), and ambeR Rubarth handed Lois a tambourine to play along.

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This was super meaningful to both of us, because it’s only a tad over a year ago, April 17th, 2009, that we first discovered The Paper Raincoat, and that night, Lois also played the tambourine during It All Depends at Canal Room!

They end the song with three people drumming fantastically on the same drum set at the same time (Alex, ambeR and Greg Ritchie). It’s incredible. But this time, because Alex got the crowd clapping in high-speed rhythm, everyone was essentially drumming together at the same time. What a crescendo!

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Speaking of clapping, there was another magical moment early in their set. They opened with Brooklyn Blurs, and then played Sympathetic Vibrations. Before announcing Sympathetic Vibrations or playing a single note, Alex merely said:

For those of you who already know your part, join me now

Nearly everyone in the crowd (probably close to 200 people) didn’t need any other clue. We all started clapping a pretty intricate beat to Sympathetic Vibrations. Too cool to describe, seriously. Having 200 people stop on cue as well is something to behold.

For the tiniest taste of the show (you can’t capture the feeling in a YouTube video), here they are performing the above-mention song, clapping and all, Sympathetic Vibrations at Mercury Lounge, last night.

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Mercury Lounge has a capacity of 250 people. It had to be close to full. The crowd was insane for Ian Axel and just as loud (between songs) and interactive for The Paper Raincoat. Standing wasn’t bad, because it’s impossible not to move with the music, so you’re really not stationary (not that we’ll start searching out shows to stand for).

Early in Ian’s set, he played a particularly energetic song, sung with his usual passion. He was probably close to collapsing in a pool of sweat at the end of the number. Someone in the crowd yelled out “Play in again!”. Lois immediately added “This time, with feeling!”, which evoked a huge laugh both from the audience, and from Ian himself. :-)

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Joining Ian on stage for two numbers was Chad Vaccarino. For the first number, they were also joined by Mike Campbell (I can’t find a good link for him). They played Shorty Don’t Wait. It was awesome. Here’s a YouTube video of them performing it from last night’s show.

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Immediately following that, Ian did his signature song (which is the title cut of his new CD), This Is The New Year. Chad is featured on that as well. Seriously, check out the “official” video of that song as well. If an Ian set was comprised of simply playing that song 10 times in a row, I bet no one would leave disappointed! :-)

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During The Paper Raincoat set, they announced that Paste Magazine (one of the premiere music industry publications) will be featuring them for the next month or so. I think the magazine will be giving away a free song each week, and a bonus free song from artists that The Paper Raincoat will pick to match their own free song. Awesome for those of you who haven’t yet bought their amazing CD!

The Paper Raincoat et. al. taking a bow at the end of their show:

DavidFalloMelissaTongGregRitchieAmberRubarthAlexWongTonyMaceli

On to the shout-outs for all the amazing musicians who were on stage. Starting with the people supporting The Paper Raincoat:

David Fallo on viola was superb!

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Melissa Tong on violin was her typical excellent self!

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Greg Ritchie on drums. As I pointed out in a recent blog covering The Paper Raincoat in Norfolk, VA, the drums are an integral part of The Paper Raincoat sound. They did an amazing job in Norfolk without a drummer, but the sound was distinctly different.

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Filling the shoes of Kevin Rice and Adam Christgau, the two drummers who between them play at nearly every show is no small task. Greg did an excellent job. I judge that by how many times I can’t help but look away from the singing (and other instruments) and I’m forced to zone in on some top-notch drumming. That happened often enough last night. :-)

Tony Maceli on electric bass. Tony is always wonderful. Typically, Tony plays the upright bass and occasionally switches to the electric. Last night’s show was purely electric (both the instrument, and Tony’s play!).

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On to Ian’s band:

Chris Kuffner on electric guitar. As masterful as he always is, but I’m still dying to see him wail on the bass (where I’m told by people I trust that Chris will blow my mind!). We also finally got to meet Chris last night after seeing him play quite a number of times. He’s incredibly nice (no surprise for this group of musicians!).

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Adam Christgau on drums. Man, it’s been a little too long since we’ve had the pleasure. We got hooked on seeing Adam often over the past year, and he’s captivated me each time. Adam was a trooper because directly from last night’s set with Ian, he ran to Joe’s Pub to play the 9:30 show with Julian Velard.

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Chris Anderson on electric bass. Chris is perfectly matched with Ian, both musically and passionately. We love his play and his style every time we see him.

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We were at the head of the line to get in when the doors opened (no surprise). That had the added benefit of us being at the door when the musicians were coming and going after sound check. Here are some pictures right outside the club, before the show started, with a few shots at the bar after the show thrown in for good measure. :-)

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Ian Axel at Joe’s Pub

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We’ve seen Ian Axel perform three full sets before, plus a few songs at the New York Sings for Haiti benefit and some guest appearances. Still, we were looking forward to last night with great anticipation.

Joe’s Pub is our favorite NYC spot to see a show, and Ian is one of our few current obsessions, so having the chance to see him headline at our favorite place was a real treat.

The show was sold out (no surprise). Ian put out a new CD, This is the New Year, on January 5th. The title track video has become a music-lover’s destination on YouTube, with over 61,000 hits at the time I’m writing this.

I’m sure there were a few guests in the audience who hadn’t heard Ian’s music before, but from the roar and claps three notes into most songs, clearly the overwhelming majority were quite familiar with his material.

Ian is an exceptional pianist with an electrifying voice, who happens to write great songs. As great as his music is in our iPod, his performances are better for the energy that emanates from Ian, through his every pore.

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He opened the show with Waltz [Intro] (a solo classical piece for piano) with the band in the shadows standing quietly watching like the rest of us. Just like on the album, [Intro] flows directly into Waltz, where the band comes alive and everybody starts to tingle.

He played all but two or three of the songs on This is the New Year. He also played Say Something on the ukulele. That song isn’t on his CD or EP, but we’ve seen him perform it before, and I know a few people who tear up each time they hear it! (You know who you are!)

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Toward the end of the set, Chad Vaccarino stepped onto the stage. It’s hard to describe how much noise (and joy) can be generated by the roughly 200 people that were stuffed into Joe’s Pub. Obviously, there was no secret as to what the next song was going to be. Chad was rightfully overwhelmed.

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Chad is Ian’s manager. He sings lead in one verse and harmony on the others with Ian on This is the New Year. He’s our hero because he’s the one who convinced Ian to start singing. Before that, Ian was just a piano player.

Chad is self-deprecating about his singing style (he sings wonderfully and expressively!), but the most interesting part is that he’s perfectly matched in his energy with Ian, and it all comes across in This is the New Year!

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Two of Ian’s core band members were on hand with two additions.

Chris Anderson played bass and a bit of harmony. We like a lot of bass players, Chris included. But, as with Chad, Chris is perfectly matched with Ian. He has an emotive, energetic style on stage, and he’s fast enough to keep up with some of Ian’s more challenging riffs. Chris is always a joy to watch and listen to.

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Adam Christgau on drums and a bit of harmony. We missed Adam the night before at Highline Ballroom (covered in this post, where I specifically mention that). I’ve noted many times that Adam always matches his drumming to the artist and song, but that much of Ian’s music allows Adam to let out his wild child a bit. He was as tight and good as always last night!

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(No, I wasn’t drunk or high, just a little cold. We bumped into Adam before the show while we were on line.) ;-)

Adam Tressler was a new addition (for us) playing electric guitar and a bit of harmony. I didn’t hear quite enough to have a strong opinion, but the little I heard was quite nice. Ian’s music doesn’t tend to highlight solo guitars (which is fine) but Adam supported the rest well enough.

AdamTressler

Dave Eggar played the cello on most of the songs. I covered him extensively in yesterday’s post (linked three paragraphs above), so I won’t get too repetitious here. This is the first time we’ve seen Dave sit in with Ian, so the comments I made about how well he blended with ambeR on such short notice probably apply here.

After the show, I accidentally crossed paths with Dave Eggar as he was leaving. I got to say the following to him (100% heartfelt!): “You are perhaps the greatest musician I’ve seen live, on any instrument!”. The fact that his instrument is a cello astounds even me, and I said it! Obviously, that’s a wildly subjective statement, but I’ll let it stand.

Given how active Dave is on stage, and how dark Joe’s Pub is, there wasn’t a single photo of Dave that was worth sharing from last night. :-(

Ian closed the show with a song that the audience sang along on the chorus. As the song went on, the band left the stage and Ian started playing the piano softer and softer, until the audience was singing with no accompaniment. At that point, Ian slipped off the stage too. The audience was supposed to keep singing (I suppose), but instead erupted in whoops and claps until Ian came out again.

For his encore, he performed Home which also isn’t on the CD or EP (YouTube video of Home) accompanied only by Dave Eggar. A very emotional way to end a spectacular night.

One of the more amazing things is watching the band when they play with Ian. It’s obvious (to me at least) that they are huge fans and aren’t just there to pick up a paycheck (though what indie musician doesn’t desperately need one of those?). They are as happy as we are to be a part of the evening, though their part is just a tad more integral and difficult than ours is.

In case you doubt me when I say how much energy they put into the show, I’ll try and prove that assertion. Ian broke a piano string during the performance. A few minutes later, Adam cracked a drumstick.

I can’t name names, but someone was kind enough to make sure that we got both the piano string and the drumstick as mementos. We’re grateful for that, and we’re willing to share our booty/bounty with the rest of you (at least through these pictures):

PosterBrokenPianoStringDrumstick BrokenPianoStringDrumstick

Greg Holden opened for Ian. We’ve seen Greg a number of times before, and his music continues to grow on me. He started the set a bit more mellow than usual but it had a nice feel. He got more energetic throughout the set.

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Ian joined him for one number (just piano, no harmony). Nate Campany joined Greg for one number as well, also just piano. Greg said that he co-wrote that song with Nate.

Dave Eggar joined Greg for two numbers. No such thing as “too much Dave”!

Greg also joined Ian on Say Something. Greg sat at the piano, but didn’t play it (during the song), singing very soft harmony. Before the song started, Greg tickled the keys a bit, threatening to start a couple of Ian songs (including This is the New Year), and Ian retaliated by starting a Greg song on the ukulele. The crowd was in stitches.

Apparently, Ian is giving Greg piano lessons. Even though he only played a few notes, I bet he’ll master it in the not-too-distant future.

After the show, Lois bought a few more T-Shirts (we already had two) and posters. If you’ve watched the video (if you haven’t, shame on you) then you might recognize that Lois had one of the women in the video model the poster for us (and now you):

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You have two chances to catch Ian on the East Coast before he heads out west. In Philadelphia at Tin Angel this Sunday, then on March 12th at Nightcat in Easton, MD. If you can, do it, you won’t regret it!

ambeR Rubarth at Highline Ballroom

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amber Rubarth is an extraordinary singer/songwriter. I’ve written about her many times. Here is the post about her CD Release Party at Joe’s Pub. Last night she headlined the Highline Ballroom and created another exceptional performance (a DVD of the show will be available later this year!).

Highline Ballroom is the biggest stage and room we’ve seen ambeR in to date. She nailed it both with a full band (eight people on stage at one point) and solo, owning the room at both ends of the spectrum.

She opened with the core of the full band, performing Full Moon in Paris from her current CD, Good Mystery. Throughout the set, musicians came and went in a fluid transition to create the right sound for each number.

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The core band consisted of:

Tony Maceli on bass (upright and electric). I’ve written about Tony many times, including the above-referenced show at Joe’s Pub. He’s consistently wonderful on the bass, and was the musical coordinator for the New York Sings for Haiti benefit at City Winery. He’s tireless and a positive addition to anyone he’s performing with.

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Dave Eggar on cello. I’ve written about Dave twice before. He’s beyond awesome. He does things with/on the cello that you don’t typically see others attempt, let alone nail, including playing it across his knee like it was a guitar. He plays effortless leads on the cello that are as mesmerizing as great lead guitar solos.

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All of that would be impressive enough (like I said, we felt that way from the first time we saw him) but last night was even more amazing. He’s never played with ambeR before, and rehearsed with her for the first time just 24 hours before show time. That would be fine if he were playing some light background role. He was not. His parts in each song were the highlights of the instrumental sections, and ambeR had a tough time containing her joy every time he thrilled the crowd!

Sarab Singh (ambeR introduced him as Sar Singh) played the drums. While we were somewhat disappointed that Adam Christgau wasn’t there last night (one of our favorite drummers, and normally drumming for ambeR and The Paper Raincoat), ambeR has excellent tastes in drummers all around. At her CD Release show Billy Hawn played (excellent).

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Sar was fantastic at the Haiti benefit, so I didn’t worry in advance whether he’d be good. Thankfully, he was great, not just good. He has the same sensibilities that Adam has, knowing exactly how to deliver not just the right beat, but the right touch, including all the right sound effects (cow bell, rims of the drums, etc.) at the exact right moment.

I’m pretty sure Adam will be playing with Ian Axel tonight at Joe’s Pub, so we’ll get our fix then, and we can now safely add Sar Singh to our list of drummers who will enhance any performers show!

In addition to the above core, Threeds played on at least three numbers (coincidence? I think not!) ;-) and they were awesome, as always. They are an integral part of the ever-wonderful In the Creases and Edge of My Seat.

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Paul Brill came out to sing with ambeR on three numbers as well (including playing the part of Alex Wong on In The Creases).

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David Fallo joined for one number on viola.

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I mentioned above the fluidity of getting people on and off the stage. With eight people on stage for Edge of My Seat, ambeR transitioned to just two, she and Dave Eggar for Rough Cut. Dave was spectacular on every number, but this one truly highlighted him, as he carried every second that ambeR wasn’t singing (and of course, supported her voice and guitar even when she was singing!).

Dave then quietly stepped off the stage and ambeR debuted a solo number called Lonelier Self (that might just be the short version, or working title). A gorgeous song that had all eyes and ears focused on ambeR. I doubt there was a single person there wondering where the rest of the band was.

After a one hour set, capped off with a Tom Waits cover (sung with Paul Brill), ambeR came out for an encore. She performed Washing Day (a song she co-wrote with Adam Levy). Joining her were Dave Eggar and special guest star Ian Axel (who has his own show tonight at Joe’s Pub).

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We hung around a bit afterward to catch up with some folks, and to buy a couple more of ambeR’s CDs to give as gifts. An absolutely fantastic night out!

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Opening the show was Cara Salimando accompanied by Julia Sinclair. Cara is a 17-year-old singer/songwriter. She played electric piano on all but one number, where she finger-picked the ukulele quite beautifully. She has an excellent voice, but still has some work to do to smoothly hit some of the higher notes. She’s young, it will come in time, I’m sure.

CaraSalimando CaraSalimandoUkulele

Julia Sinclair accompanied her on every song, playing half on the cello and half on the guitar. She also sang harmony a bit, not enough if you ask me. She plays the cello very well (though there was a slight buzz on the bass notes). I was more impressed with her guitar play. She’s an excellent complement to Cara. The set was exactly 30 minutes.

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After resetting the stage, Kaiser Cartel came out. Kaiser Cartel is a duo comprising Courtney Kaiser and Benjamin Cartel (however did they come up with the name of the band?). They’re a reasonably straightforward rock ‘n roll band, putting out a pretty big sound for just two people (though they were joined for two or three numbers by someone who’s name I thought was Jeff Kraft, but now I’m sure that’s wrong).

Here’s a picture of the guy whose name I’m not remembering, sorry!:

Kraft

Courtney has an exceptional voice. She mostly played the acoustic guitar, but it was also connected to a muff pedal so she created some classical electric guitar sounds. She also played what seemed like a one-handed accordion. She played with her right hand and used the left to pull the bellows part in and out. She also played a glockenspiel, but with an electric device (looked like a cross between a grouting tool and an electric toothbrush!) so she got a fast ringing sound (like a telephone!) every time she struck a key!

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Benjamin has a nice voice and harmonized well with Courtney. He played drums and acoustic guitar. One some songs he only played the drums. On the others he played the guitar, but continued to play the drum line with his foot. It contributed to their big sound for just two people.

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Nina Lee on cello joined them for two numbers. She’s excellent!

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For their last number they did something very cool. Courtney asked the crowd to be as quiet as they could. They then came off the stage and walked throughout the entire audience (covering a very large room) and sang a song (Benjamin played the guitar, unplugged of course) stopping at practically every table and singing a line within a few inches of the people sitting there. It was pretty powerful to be so up close and personal.

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They were on for roughly 45 minutes before ambeR came out. If you want to help them fund their new CD, the info is below (click any picture in this post to enlarge it):

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When we were heading down in the cab I tweeted a friend asking if she’d be there. She showed up a little later with her friend and they were able to join us at our table right up at the stage so we had some good times and good food before the show started. They bought CDs from ambeR too and the four of us shared a cab home after the show.

Closing with a pet peeve. I’ve written too many times (here we go again) about how rude some people can be when they speak loudly during a performance. That happened a bit last night too (not too bad for such a large room). But, what shocked me was that the worst offender last night was a performer. We’ve seen this person on stage once before (no names) so it was doubly shocking that they would ever treat someone in a manner that I can only imagine would annoy them if it happened during their show. Oh well…

New York Sings for Haiti

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On most days even compassionate people go about their lives in a near bubble-like existence. The problems of the rest of the world aren’t one’s first thought. Unfortunately, it often takes a tragedy to break us out of that routine and remind us that we are dramatically more alike than we are different, us fragile humans.

The explosion of text messages sent to raise money after the earthquake in Haiti proved that if you make it easy to give, many people will happily do so, even if it isn’t the most prudent thing for them to do.

There are many ways to give. As important as direct monetary donations are, raising awareness is also crucial as the ever-widening circle of giving, volunteering and compassion have a chance to work their way deeper into our lives.

Many artists live more obvious compassionate lives, creating art as an outlet for deep-seated emotions. They also have fans, which makes raising awareness a little easier for them than for ordinary folk.

Many musicians participated in many benefit concerts (some televised globally) over the past week. I applaud all of those efforts. For the bigger acts, pulling off these last-minute mega-shows is difficult, I’m sure, but the machinery that surrounds them is geared toward doing that kind of work, and money is never an obstacle.

In the incredible vibrant indie music scene in NYC, the story of last night’s benefit concert is inspiring in showing what can be accomplished with compassion, and a crazy amount of effort (and let’s not forget talent as well!).

Alex Berger is a very talented singer/songwriter who is visiting from the UK. He was staying at a friend’s apartment for a week, the extraordinary photographer Ric Agudelo (an incredible person, who we were lucky to meet as a result of this benefit).

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After spending the evening at Rockwood Music Hall enjoying some music, they were both heartbroken to hear about the earthquake in Haiti. Sitting on Ric’s couch at 1am they decided that they had to try and do something. Ric said that they should get cracking first thing in the morning. Alex said let’s send out some emails right now, and so it began.

Alex was able to get commitments from over a dozen of NYC’s most amazing musicians. Ric was able to secure one of the finest places to see a show in NYC, City Winery. Ric and others then went into overdrive to pull all of the logistics together (a daunting task!) and Alex worked with the musicians to create a show that the audience will never forget.

Giving/sacrifice comes in many flavors. Quite a number of the musicians who agreed instantly to participate did so knowing that they would have to change prior commitments on a moment’s notice. A large group of them postponed a writers retreat. Alex Wong flew cross-country just for the show. Many other similar stories.

As active as we are in attending shows in NY so are many other music lovers. We’ve had the pleasure and the privilege of meeting a few other passionate fans as a result of another example of these artists giving whenever they can.

Shannon Black is a cancer survivor. She is a wonderful person in all respects and is inspirational in many ways, including that she runs in the NYC Marathon each year, raising money for Livestrong in the process. We met Shannon (and her husband and fellow music-lover Jason) at their Livestrong fundraiser, where again, Alex Berger arranged for 11 musicians to perform and donate their time and talent.

Half way through the show last night, Shannon came up to me and gave me a hand-written note, asking me if I would mind including it in my blog. Not only don’t I mind, I’m honored to share it with the rest of you:

Hadar,

When you blog about this magical night, could you say something for me?

Not only have we been brought together for a great cause, but in witnessing these musicians making themselves so vulnerable, I have been called/pressed/pulled to that which my life was meant for!

I got a second chance, so I needed this, tonight!

In a nutshell, in witnessing their “magic”, I have been called to that which “God meant for me to do!”

Last thing before getting on with the show. While most musicians rehearse before their shows, the challenge in preparing for last night’s show was monumental. There was a house band (a group of amazing musicians) that played with most of the acts. They had practically no time to learn tons of material, and, of course, they nailed it all!

The house band consisted of: Tony Maceli (who also coordinated the entire show including running the rehearsals!), Chris Kuffner, Marika Hughes, Kevin Rice, Adam Christgau, Melissa Tong, Ward Williams and a number of other people whose names I didn’t catch, sorry!

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While the show was sold out (no surprise), in addition to the money raised from ticket sales, there was a raffle (including two high-end guitars, donated by Martin and Gibson, which were signed by all of the performers!). The show was streamed live for those that couldn’t make it and there were opportunities throughout the stream to donate.

If I understand correctly, as soon as possible, they will release a CD and DVD of the show as well, having additional opportunities to raise more funds for this very worthy cause.

Typically, I go into great detail about each act in the shows we attend (often, each individual performer in each band). If I did that now, I’d be publishing this blog late next week, and the purpose of this post, and of last night, wasn’t to critique the performance, but to revel in the kindness and generosity of all involved, performers and audience alike.

The music ranged from soft a capella (the always blissful Rewind by The Paper Raincoat) to hard rock by both The Bongos and Harper Blynn. Everything in between as well, including Jazz, Pop, Folk, Country.

Most performed two or three numbers, with a few last-minute guests coming on for only a single song. One example of the latter was a Nashville-based singer/songwriter, Sara Jean Kelly who drove up, sang one song, and made us take note of her talent! One other person not listed was an Israeli singer/songwriter. I thought they announced her as Tal, but perhaps it was Tula. I apologize if I linked to the wrong person there. Thanks to a comment from Rebecca, I now know I was wrong in that last sentence. The singer was Paula Valstein.

Here are the artists in the order that they appeared. Many appeared on stage with other artists, and of course, the incredible house band supported most of them (a few had their own bands, and I apologize for not doing my normally thorough job of naming every one of them!).

Martin Rivas (still recuperating from foot surgery, came up with his crutches!)

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The Bongos (I believe that they were originally slated to headline City Winery that night. Incredibly generous of them to give up that kind of spotlight and share the stage with everyone else!)

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The Wellspring (a newly formed duet, last night was their public debut I think. Supported by Alex Berger, ambeR Rubarth and Wes Hutchinson.)

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Nate Campany (supported by many of the other performers)

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Rosi Golan (our first time seeing her, amazing!)

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Will Knox

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Ed Romanoff

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Sara Jean Kelly

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Tula Paula Valstein (now corrected, thanks again Rebecca!)

Tula

Wes Hutchinson (supported by his band, Reel by Reel)

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amber Rubarth (supported by Threeds, Ed Romanoff, Ari Hest and Tony Maceli playing trumpet)

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Ian Axel (ahhhhhhhhhhhh, supported by Chad Vaccarino)

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Alex Berger (fabulous, topped off by Love, supported by ambeR and Vienna Teng. Tony Maceli played a wonderful trumpet)

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Joey Ryan (supported by Vienna Teng and Dave Eggar)

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Greg Holden (supported by Ian Axel, Joey Ryan and ambeR)

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Harper Blynn

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Vienna Teng (supported by Alex Wong and Kevin Rice. Actually, Vienna opened with an a capella number with roughly 10 people on stage, including many of the evening’s performers!)

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The Spring Standards (new discovery for me. They’re great. I was particularly impressed with Heather’s voice!)

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Ari Hest (with his own band. First time we got to see him perform in a lead role. Marvelous voice!)

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The Paper Raincoat closed the show. Unbelievably fitting for us, because every single connection that we have with the local music scene in NYC emanated from our discovery of them when they opened for Colin Hay in April 2009. It’s amazing that our journey is so short, and yet so rich, all thanks to ambeR Rubarth and Alex Wong.

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Of course, they were magical (they always are).

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To top everything off, most of the artists came back on stage for a fittingly named finale: Help is on the Way, a song by Alex Wong’s former group, The Animators. There were roughly 30 people on stage singing their hearts out. Elizabeth Ziman of Elizabeth and the Catapult joined Vienna at the piano for the finale.

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The show ended at exactly 1am, five solid hours of incredible spirit and music.

That said, last night really wasn’t about the music, as much as we all may have loved it. It’s about seeing what can be accomplished, in a very short time, by people who are motivated to do something selfless for others. It was wonderful to be the tiniest part of that effort.

Thank you to everyone involved in putting on the show and raising the money, and special thanks for Alex Berger and Ric Agudelo!

ambeR Rubarth, Ian Axel, Greg Holden and Joey Ryan at Tin Angel

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ambeR Rubarth is very good about disseminating information about upcoming shows once they’re set. When she tweeted a couple of months ago that she would be appearing in Philadelphia at Tin Angel with Ian Axel, Greg Holden and Joey Ryan on January 22nd, 2010, we grabbed tickets.

A month later ambeR announced that she, Greg and Joey would be performing on three consecutive weeks at Rockwood Music Hall in a January Residency. Rockwood is way more convenient, and we though we’d get to see them at least once. Amazingly, we couldn’t contort ourselves enough to make any of those shows, including the last one this past Thursday when Ian Axel guest starred as well.

No worries, we were set for last night, and had been to Tin Angel once before and knew we liked the place.

The gang of four had a bit of trouble with their GPS so we were actually seated right next to the stage as they scrambled in (about 25 minutes before show time). They did their sound checks and disappeared into the green room to catch their breaths for a few minutes.

Only six minutes late (7:36pm), they came back on stage and announced that they would be playing the show in the round, taking turns doing songs. We have grown particularly fond of that format from all of the CMA Songwriters shows that we attend at Joe’s Pub.

Greg Holden kicked it off with Joey Ryan doing a song we really love. They debuted the song on YouTube and I can’t tell you how many times we’ve listened to it, but it’s dozens (we sing it out loud in the car a lot).

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After that the order was Ian Axel, ambeR Rubarth, Joey Ryan and back to Greg again, etc. Each of them knows all of the music of the others so well, that there was quite a bit of support during most songs (harmonies, Ian playing piano for the others and the others playing guitar for Ian). They all sing harmony beautifully.

We’ve seen a number of our favorite keyboard players on real pianos and on electronic keyboards. While a good electronic keyboard and a good sound system can sound nearly identical to a top piano, the obvious difference is that the electronic keyboard can mimic other instruments, or create a more synthesized sound in general.

Last night highlighted a much more significant difference between the two. Greg was about to play one of his songs and Ian was set to accompany him on the piano (electronic variety). Greg turned to Ian and apologized, telling him that he was going to play it one fret down from where they normally do.

I’m sure that there are piano players out there who can transpose a piece in their heads, and nail it. It’s not something I would want to even consider. Ian just smiled and said “No problem!”. He made one tiny adjustment on the keyboards, and transposed electronically, while being able to play in the key he was familiar with. Do that on a real piano! :-)

They performed four songs each and one all together at the end, making a total of 17 numbers (a superb set, lasting just under 110 minutes!). Song selection was wonderful all around. Now that I’m thinking about it, they might have played five each, for a total of 21, but I wouldn’t swear to it (at least not in court).

Each of them has wonderful stage presence. Greg got the audience to sing along on two of his numbers (including Bar on A, the last one that all four of them did together). Ian felt that he was rambling in introducing a song and said “Perhaps I shouldn’t talk.” The crowd resoundingly implored him to keep talking! :-)

Here they all are singing Bar on A:

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ambeR asked for one request, got three separate responses (In the Creases from Lois, Rough Cut and Novacaine). All three choices are awesome, and Lois withdrew her request and ambeR played Rough Cut (one of two songs she played using Ian’s keyboards, which makes me more confident that they played five songs each).

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Ian knocked us out as he has from the first time we saw him. For his third number he played his current sensation, the title cut from his new CD called This is the New Year. You can lift your spirit by watching this YouTube video of This is the New Year. It has over 39,000 views already (Lois swears she doesn’t account for more than 1,000 of them) ;-) though she has sent the link to everyone she knows, and all of these views are just in one month!

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Greg Holden sang the part that Chad Vaccarino normally sings. Greg did a fantastic job, but I admit that my ears are attuned to hearing Chad’s voice in that spot, and it took me a few seconds to adjust.

Our friend @HappyBee3 saw the show the night before in Rockwood and told us that she was moved to tears when Ian sang Say Something. Last night he performed it too, on the ukulele (like he did the night before), but ambeR, Greg and Joey all sang harmony with him. The song is moving enough, but with 4-part harmony, all the more!

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After Ian sang Gone (another moving song), Lois was nearly in tears (notice the trend from the night before?). Then Amber took to Ian’s keyboards and performed a song we hadn’t heard her play live before, and Lois achieved real tears. They all joked that Joey better pick a more up-beat song. He asked whether a song about cancer would qualify? In other words, lots of deeply emotional lyrics last night.

Joey Ryan is the only one that we hadn’t seen perform (he’s based in L.A.). He has a really beautiful voice, with an extraordinary range for a guy. He sings in the lower registers when it’s his song (for the most part), but he hits incredibly high notes, very cleanly, when he harmonizes with Greg and ambeR.

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Joey plays the guitar beautifully, finger picking a storm. He writes complex lyrics that I’ll have to listen to a number of times until they’re ingrained. Toward that end, we bought both Joey’s brand new EP, Kenter Canyon and his previous full-length CD, With its Roots Above and its Branches Below. I’m listening now while typing this. Lovely! :-)

We already own Greg Holden’s CD and EP, and Ian’s EP and CD, and ambeR’s CD/EP and The Paper Raincoat EP/CD as well. :-)

Lois picked up a second Ian Axel T-Shirt last night. She was wearing her green one and bought a purple one.

While all four have great stage presence and are all pretty funny, I have to give a shout out to Joey for being the driest of them. He delivers his wit so soft-spokenly, so understated, expressionless (most times), that you might be tempted to think he was being serious. Don’t fall for it! He’s just flat out clever, funny and quick!

We didn’t worry whether it would be worth the long round-trip drive. What we couldn’t be sure of was how great this particular show would be. It was excellent in every respect.

All four of them were on for each of their songs, all four meshed together perfectly. The venue is intimate. The sound was perfect, with one notable exception. For a good part of the evening, they couldn’t get the feedback from ambeR’s guitar pickups to stop. It wasn’t that distracting for us, but ambeR was a trooper for plowing through it!

The audience was exceptional as well. They knew these artists well even though none are from Philly, were quiet during the songs but really loud and long in their applause after each number. They also lined up at the merch table afterward to buy stuff and say hi. It felt good to be part of it. Thanks Philly fans, you too made the drive worthwhile!

But wait, there’s more!

The drive down was spectacular. We were bathed in a stunning and seemingly never-ending sunset.

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We ate dinner at Serrano, the excellent restaurant below Tin Angel. If you have a dinner reservation, they hold a table for you at Tin Angel above. The food and service at Serrano is so good (both times we were there) that we wouldn’t consider going to Tin Angel without dining at Serrano first.

Lucky for us, we’ll see all four of theses wonderful musicians this Monday night (Jan 25th) at City Winery, where they are part of a spectacular lineup of indie artists who are putting on a benefit to raise money for Haiti.

Ian Axel and Greg Holden at Canal Room

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This one is gonna be long (surprise!), so let’s bottom line it for the impatient:

  1. Ian AxelCrazy good!
  2. Greg Holden – Very good, would have been nice if some in the crowd were more attentive.
  3. Katie Costello – Very good, need to hear more and I want to.
  4. Honey Larochelle – Delightful surprise.
  5. Kenny Muhammad – was a guest on one Honey Larochelle number. He’s incredible.
  6. Band Members – See below, if you have patience. :-)

OK, I formally give you permission to bail on the rest of this, here’s your hall pass. :-)

We saw Ian Axel once before at Rockwood Music Hall, and I covered that show in this post. We were so blown away that night that we’ve been eagerly awaiting another opportunity to see Ian perform. It turned out to be a 56 day wait, an eternity from our perspective.

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Ian has a new CD coming out on January 5th, and we are impatiently waiting for that as well. Ian Axel is an extraordinary singer, songwriter, keyboard player, and he isn’t half-bad on the ukulele either.

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There were a few differences last night. At Rockwood, Ian played a grand piano, last night, electric keyboards. Who cares, he’s brilliant on both. He added an electric guitar to the mix, nice. Rockwood is tiny. While they can pack it in for a popular show (I guess between 80-100 people can become good friends quickly), it’s still a super-intimate place, generally filled with super-fans only. Canal Room is a bit more spacious (still pretty intimate) but audiences can be a bit more distracting, not there purely for the music.

From a selfish perspective, I’m glad Ian is still playing intimate clubs (our favorite experience). He has the talent to fill and captivate venues like the Beacon Theatre, Radio City Music Hall, etc. I know he’s not well known enough to fill them yet, and that’s a shame (for him and his eventual fans), but a short-term win for his existing fans. That big-venue day is coming, mark my words.

Backing up Ian, from left-to-right:

Chris Kuffner on electric guitar and some vocal backup. Chris is better known for his bass playing than his guitar. I didn’t know that, but some people pointed out to me after the show that he’s a bass god, and listening to the pieces on his MySpace page convince me that’s dead on. I really couldn’t make out his guitar or vocals too well last night. It’s clear that his fellow musicians have enormous respect for him, and that’s more than good enough for me!

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Adam Christgau on the drums and some vocal backup. I’ve written about Adam numerous times. I loved his drumming from the first time we saw him, at the Canal Room (like last night), playing with The Paper Raincoat. My respect for him has only grown since then.

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I mentioned in the last Ian post that Adam changes styles to match the artist/music, and that Ian brings out a much more dramatic flair in Adam. As much as I love the sophistication of the drumming for The Paper Raincoat, on many Ian numbers Adam can really let loose (power, speed, etc.), and it’s delightful (visually and aurally).

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Also, as mentioned in the last post, the only reason we discovered Ian is because Adam was playing with him, and we made the assumption that if Adam was bothering, Ian had to be worth listening to. For that alone we’ll forever be grateful to Adam!

Chris Anderson played electric bass and some vocal backup. Chris also played bass for Ian at Rockwood. Chris impressed me at Rockwood, but the stage was super tight there and Ian played half the numbers without the band. Last night Chris got to stretch out a bit more (he has a ton of infectious energy on stage) and we both enjoyed every note he played.

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Ian brought Greg Holden out toward the end of the set to sing with him (Ian sat in a bit on Greg’s set as well). The two of them work well together and I’m sure they’ll be appearing on the same bill in the future, as they were the two times we’ve seen them so far.

Ian also played one number on his ukulele accompanied by Michael Campbell (sorry, couldn’t find a link for him) on the guitar and harmony vocals. Excellent!

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Greg Holden did a roughly 40 minute set before he turned the stage over to Ian. When he came out, backing him were Chris Kuffner, Ian Axel, Adam Christgau, and a different bassist, Kyle McCammon (no decent photo). Kyle was very good on the bass, and was replaced by Chris Anderson for Ian’s set. He had another gig at 11pm at The National Underground, so he had a busy night. :-)

Greg was quite good playing the guitar and singing. His voice is somewhere between a light raspiness and a bit of smokiness (now you know exactly what he sounds like). He writes good songs.

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If I had to pick a slight nit, a number of his songs tend to repeat the hook a few times too many. They’re good hooks, but he could work a bit to flesh the song out. I said that last time too, and he obviously has rewritten his songs just yet. ;-)

Greg opened the set solo, even though all of the band members were on stage and in position. He played an untitled song that he debuted on YouTube, a song co-written with Joey Ryan. Lois has suggested that they name the song Nothing But a Memory (we’ll see if they listen to her!). Greg did a great job solo, but I was marginally surprised that he didn’t enlist Ian to sing the Joey part. We love the song, and listen to it many times.

As much as we love the song, and as excellent a job as Greg did with it last night, I’ll digress here to make two separate points, both regarding this song.

I’ll cover the opening act shortly, but as I’ve said in the past, the art of booking an opening act can be hit or miss in general. I’m of the opinion that the genre should be a match so that fans of the headliner will at least be hearing music that is likely to please, or at worst, not displease. Others might argue that it’s an opportunity to broaden your horizon, because you’ll still get to hear what you specifically came for.

Last night, Honey Larochelle opened, and the genre was quite different. It was very high energy and very loud, and ended on a very high note, with the crowd rising to their feet.

Even though there were 15 minutes between sets, the buzz was still swirling throughout the room when Greg took the stage. The first point is that Greg probably should have started with a full-band song, not a solo acoustic guitar effort, because a good portion of the audience wasn’t prepared for such a mellow opening, especially with the full band just sitting there. To repeat, we love the song he played, and we loved his version of it, it just should have been further down the setlist in my opinion.

A separate but related point is that there were way too many people in the crowd who used the discordant mellowness as an excuse to talk quite loudly. I’ve faulted many people in the past when it’s an isolated couple or few people who talk during a performance, but this was perhaps a quarter to a third of the people, so I think they all thought that it was OK to do so, and that Greg was just background music. It was rude, and Greg didn’t deserve it.

Of course, when the full band played, people’s attention was drawn to the stage. That’s another reason why I think Greg could have controlled that situation a bit better by ordering his set differently.

Back to the main action. After playing a few songs with the full band, Greg invited Katie Costello on stage (and the band left, except for Chris who played one song with them). They played two songs together, with Katie playing a bit of keyboards but mostly singing with Greg.

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On the first number, Katie seemed to be straining during the first verse. Greg did a very classy thing. He stopped the song mid-stream and apologized for starting it in the wrong key! He slid the capo down two frets and started again. This time Katie hit every note beautifully, and they pulled the song off without another hitch.

I’ve been listening to her streaming from her site (linked above) for quite a while now. I like her a lot. She’s playing tomorrow (Sunday, December 20th) at Rockwood Music Hall at 11pm. We already have tickets to see the amazing Cherish the Ladies in Pawling, NY tomorrow night, so we won’t get to see Katie just yet, but if you’re in NYC tomorrow, and you’re a night owl, do yourself a favor and get over to Rockwood.

Greg played a bit more with the band, and a few more solos as well. Over all, a very nice set.

Opening the show was Honey Larochelle, backed by a four piece band and two backup singers. On her MySpace page she describes her music as Soul / Folk Rock / R&B. Yes, she’s all that, and more.

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Excellent voice, wide range, bubbly spirit, showmanship. All four band members are very good, as are the backup singers, so the whole ensemble works well together.

Honey announced that she would be doing a bunch of Christmas songs (and I’ll explain in a minute why I believed her). She opened the show with one, but I don’t think she played a second one for the remainder of the 35-minute set (though perhaps I’m addled after the rest of the great show).

The rest of the set was a romp that covered the above-mentioned genres and added a closing Hip Hop number with Kenny Muhammad called I Love a Human Beat Box (or it should be if it isn’t). Kenny truly is a human beat box. In fact, he sounds like a full drum set in addition to other DJ like sounds. Pretty amazing.

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Honey also did a wonderful number as a tribute to her mother’s common sense advice when she was growing up, which she now appreciates even though she ignored it at the time, called Hold You Down. She had the audience sing during the chorus. We did a better job than the audience in this YouTube version of the song. :-)

Backing her up, left-to-right:

Devory Pugh on keyboards (sorry, no good standalone link). He was solid, highlighted on one number. We chatted with him for a minute after the show. He also manages artists. Very nice guy! One of his guys, Charles Perry, will be appearing at Gospel Uptown on 1/19/2010.

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Playing the electric guitar was a new member to the band (this was the second time he appeared with them). He has a Polish name that I didn’t catch. I’ll update the post if someone fills in his name for me. He was quite tasty, playing a jazz/blues style. Clearly a superior talent.

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Greg Norwood (AKA G the Backbone) on drums (also no good links). He was absolutely incredible throughout the set.

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Jesse Singer on bass (again, no good links). He was solid throughout the set.

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Regine Roy and Cole Williams sang backup and did a great job. They both had good stage presence.

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While I can appreciate R&B, it’s not the typical music we go to see, so it was a treat to see someone that we enjoyed as much as we did. Even though I still think that the genre was not well matched to the headliners, it worked for two reasons: 1) all of the performers were top notch; 2) Honey is good friends with Ian (and possibly Greg), so there were quite a number of overlapping fans.

The Canal Room website listed the show as starting at 7:30pm, with doors opening at 7pm. We like to get to General Admission shows early so that we can sit as close to the stage as possible (preferably the front row). While the sound isn’t the best that close up, the view is. Lois is very near-sighted, so if we’re not right near the stage, the entire show is a blur to her.

We showed up early, as usual, and found out that everything was shifted back 1/2 an hour. It was cold out, but we were fine braving it to be first in. After a bit, management took pity on us (we were the only ones in line!), and told us that we could wait in the lobby inside. We were grateful, it’s quite an unusual move (we know from long experience).

After waiting 15 minutes inside, still long before the doors were supposed to open, another member of management also took pity on us, and told us that we could go in, but that it was still sound check time, so we should be respectful of that. Of course, we were.

It turned out to be quite special. We sat in the front row and watched Honey and the band warm up and play a number of songs they didn’t do in the set (mostly Christmas numbers that I guess they intended to do). Really good! But, in addition to just enjoying the music, I got a much better look at the guitar player, who played a lot of interesting riffs throughout the sound check.

We also chatted with Honey very briefly after sound check, and she’s as lovely as could be.

After the show we talked to Ian for a minute and got him to sign one of his EPs that we purchased at the Rockwood show. I always implore my readers to support the artists that they like, and we do whatever we can ourselves.

We bought an Ian Axel T-Shirt from Chad Vaccarino who was working Ian’s merch table. Chad did a great job singing with Ian at Rockwood and is credited with convincing Ian to start singing. Thank you Chad!

We also purchased three Greg Holden CDs and an unmixed, unmastered, unreleased CD of Honey’s, pressed just for fans that come to these types of shows.

Greg signed one of his CDs as well, and we got to tell him directly how much we love Nothing But a Memory (perhaps if I write it often, he and Joey will decide to make Lois happy and stick with that name!). ;-)

We also ran into two of our favorite Alexes, Alex Berger and Alex Wong. We got to spend a bit more time with Alex Berger because we talked to him before Honey took the stage, and then after the show as well. Seeing Alex Wong was a treat too. I knew that he had a show in SF tonight and tomorrow, so we didn’t think he was still in town. His flight just made it out of NYC minutes ago, so hopefully he’ll hit the stage in time for the show…

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We know that the next time, we’ll be as likely to be told to wait outside until the doors officially open, but for last night, we’ll be forever grateful on all accounts. :-)

Ian Axel at Rockwood Music Hall

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The title of this posts is as big a surprise to me as it is to you. ;-)

When we planned our evening last night (a couple of weeks ago), I was unaware that Ian Axel was scheduled to play at Rockwood Music Hall, and was unaware of his music. Our plan was to see Greg Holden at 8pm (our first time seeing him) and then running a few blocks away to Arlene’s Grocery to see Atomic Tom for the first time as well. The best laid plans…

The night before (Thursday), we were also at Rockwood, to see ambeR Rubarth and we caught most of the set before her, Chris Kasper and Ross Bellenoit. Adam Christgau, who was drumming for ambeR, mentioned that he would be drumming for Greg Holden the next night (we knew that, which is why we were interested in seeing Greg’s show to begin with), but he also mentioned that he’d be drumming for Ian Axel immediately thereafter.

Hmmm, that made me listen to Ian Axel’s MySpace page and I liked what I heard. We were now leaning toward hanging at Rockwood, especially if we had one of the few seats in the place, rather than chance being shut out at Arlene’s Grocery.

I’ll come back and describe the rest of the evening’s musicians and logistics after covering our experience of Ian’s set.

Wow!

OK, I covered it! Seriously! We were both blown away by Ian in every respect. He’s an absolutely phenomenal piano player. He has an excellent voice (more on that in a bit). He writes interesting songs (melody, lyrics, arrangements). He delivers them with tremendous energy and showmanship. He connects with the crowd. He’s funny.

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On his up-beat pop numbers he was accompanied by Adam Christgau on  the drums and Chris Anderson on electric bass. Both were excellent, and both sang harmony a bit.

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Adam has always impressed me (as I’ve written a number of times) but even more so last night, after seeing him play with Greg and Ian, adding more styles than is required to support The Paper Raincoat and ambeR’s music. He’s a super talented drummer (and singer) that adds to any artist he’s supporting!

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In addition to those high energy numbers, Ian also played a few solos on the piano, ballads, and he played one solo on the ukulele, which was more mellow.

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He told a story that when he started out, he really didn’t consider singing. A friend of his, Chad Vaccarino kept pressing him to sing, telling him that he was destined to be a singer. Obviously, Chad got to him, and we are all grateful that he did!

Apparently, roughly the same time that Ian started singing, Chad stopped performing (Ian didn’t explain why). Until earlier this week, when Chad performed at Rockwood (on Monday), and according to Ian, killed it! After telling the story, Ian invited Chad up on the stage to sing a song with him. Excellent!

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Ian’s a definite follow around whenever we can.

Toward the end of the set, Ian mentioned that he hopes to get his new CD out by the end of the year. In the meantime, he had a 6-song EP that he offered to give away to anyone who came to find him at the end of the show. He allowed for the fact that some people might wish to donate instead of just taking it for free. :-)

In addition to being generous in the Tip Jar that was passed around for Ian, Lois found him after the show, and donated $20 for two copies of the EP. We enjoyed it on the ride back to the house this morning.

Working backwards musically, appearing before Ian was Greg Holden, the primary reason we were at Rockwood to begin with. I mentioned Greg in a post about Cardboard Bikini (a.k.a. The Paper Raincoat), where he stood right behind me at Rockwood for one of their shows. After that show, both Adam Christgau and Alex Berger told me that I really needed to catch Greg’s show.

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The next morning, he left on a six-week tour opening for Ingrid Michaelson, all over the country. I started following him on Twitter right away, and I enjoyed his snarky updates and got a feel for the tour through his eyes.

He also has a song that will be featured on this week’s episode of Private Practice on ABC, so he’s well on his way to a career in the music biz.

I thoroughly enjoyed his set, though clearly not enough to have bumped Ian from the title of the post, hence my own surprise.

Greg played the acoustic guitar well. On his more energetic numbers, he was accompanied by Adam Christgau on the drums, a bassist whose name I didn’t catch and Ian Axel on the piano.

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You already know how I feel about Adam and Ian, so I’ll just mention that the bassist was really good too. It was even more impressive when Greg mentioned that he was pressed into duty at the last minute, and had to learn the three songs (perhaps even that day!). I tweeted Greg last night asking his name, but haven’t heard back yet.

Update: Greg just tweeted that the bassist was Jon Estes! Thanks Greg.

He has a very relaxed style on stage, with good audience rapport. He played a cover of Walking on Sunshine, where he easily got the entire crowd to sing along, loudly. He’s also very funny (both on Twitter and in person).

Greg also played a few solo numbers (including Walking on Sunshine). He has a really good voice, and writes interesting songs. If I had to tweak him a bit, I’d say that a number of songs achieve their length by being a little too repetitive. They’re still good, but I have no doubt that he can do better, and I’m sure he will.

According to him, he took a major gamble this past January and moved to the US from the UK to launch a music career from scratch. Obviously, he’s achieved so much in so little time. Still, I have a feeling that he will continue to grow dramatically, likely at a rapid pace as well, so I look forward to tracking his career.

As with the night before, when we discovered Chris Kasper, I checked out who would be on before Greg, in the hopes that if it were someone good, we’d have a better chance of having a seat for Greg, while still enjoying the set. This week is the CMJ Showcase all over NYC, so many shows are more crowded than they might otherwise be, due to the extra publicity and press.

Edie Carey was on from 7-8pm. I listened to a few of the songs on her website and liked what I heard. Also, I noticed that she was on the last Cayamo cruise (she’s going again in March 2010), and in addition to all of the major stars that perform on that, our very own Girlyman went on last year’s cruise as well. So, I was officially intrigued.

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We walked in at 6:43pm to a jam-packed crowd listening to the group that was on from 6-7pm (I’ll describe our brief encounter with them after saying a bit more about Edie).

With a ton of luck, and some very nice people, when the set before Edie ended, Lois was able to get a seat, and a few minutes later, I was able to snag one right next to her (absolutely incredible given how crowded the place was).

Edie has a wonderful voice, which she controls really well, delivering power when she wants, and whispers at other times. She accompanies herself well on the guitar, mostly rhythm, with occasional finger-picking thrown in.

She describes her song-writing style as overwhelmingly dark (she’s right). She has an incredibly devoted fan base. Most of the people in the crowd for her set were there specifically for her. When she asked for requests, I was amazed at how many people started yelling, and how many different songs they were trying to get her to play!

One guy, standing in the very far corner, whom she called Vincent, yelled “Nice!” as she finished each song, cueing the exuberant clapping.

All of that is to say that for a large number of folks, Edie Carey is magic. She moves their souls. Unfortunately, we didn’t have that reaction. While both of us thought her voice was excellent, and her stage presence was good, the songs did very little for us. The comment that I used above saying that Greg was a bit repetitive could be multiplied for Edie.

Both of us felt that every song was overly repetitive, but since she’s singing mostly extremely slow, dark, dirges, the effect is worse than in a catchy up-beat song, where at least the repeating hook is fun.

There was nothing unpleasant about the set, and the plan to find a seat during her show and be settled in for Greg and Ian worked out better than I could have hoped, but she’s not someone that we would seek out in the future.

She told one story about writing a song for her wedding (she was married in May 2009, and her husband sat a few feet away from us). The story was warm and engaging, and it was the only time during her set that I was 100% captivated and attentive. Unfortunately, the song itself, not so much…

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Since we walked in at 6:43pm, we got to hear the last two songs of the set before Edie.

The Uglysuit had a packed crowd (as I mentioned before), and from what we heard, fully deserved! Three electric guitars, one electric bass, grand piano, and drums. That’s about as many people as you can cram on to the tiny Rockwood stage. In fact, they couldn’t! The drummer never sits on stage, and in this case, the bassist was in the crowd too, taking up the space where two people would normally be sitting.

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They have a gorgeous, rich sound. They sing well too, but they jam for much longer stretches than they sing. I would have been extremely happy to catch the rest of their set, and will look out for them in the future, though they hail from OK and tour all around. They’re playing today at 3:30pm at Kenny’s Castaways, but we’re already at the house.

I’ll use them as a specific example of a point I want to make about Rockwood in general.

At a number of venues, including some of our favorites, Sound Engineering can be hit-or-miss. Even at our favorite club, Joe’s Pub, on occasion (thankfully not too often), the sound can be downright bad.

Rockwood has nailed it for every set we’ve seen so far. What’s more impressive is the range of instruments and styles and number of people on stage, etc., that they consistently nail it for.

Using The Uglysuit as an example, three electric guitars, an electric bass, grand piano, drums, and two people singing, typically, something is too loud, or something can’t be heard. Simply not the case at Rockwood. Even with all of that music going on, the volume was appropriate, and each instrument was clear. It’s a crying shame that this isn’t the case for every show at every venue.

I stand in awe of the two people who run the sound for the sets we’ve seen at Rockwood, one of whom we believe is the owner. Absolutely incredible.

If we could be assured of always getting a seat, I hazard to guess that it might even surpass Joe’s Pub as a favorite destination for us, though some of the groups that we see at Joe’s wouldn’t play a place as small (or free!) as Rockwood.