Adam Kennedy unexpectedly became a globetrotter during the pandemic.
The Newcastle upon Tyne, U.K. music photojournalist ventured to Finland, the U.S., Australia, Russia, Israel, Italy, Japan and other far-flung locations to shoot established and emerging artists – all from the comfort of his own home.
In fact, Kennedy’s international photographic jaunts have occurred online as part of a successful virtual photo shoot project he launched in April 2020. To date, he’s conducted more than 570 virtual photo shoots with rock, metal, jazz and blues artists over Facebook, Zoom, Skype, WhatsApp, FaceTime and other online platforms.
“It’s just to create a feel of coming together online and being in the moment. After an hour, you usually have something cool. Every session has been completely different, and every artist brings something different to the table,” he said.
“Every environment is different because I’m not working in a studio. I’m predominantly working out of someone’s home, or a person takes me out on location. I’ve been in Los Angeles on the strip, in Sochi overlooking the Black Sea, in Jerusalem at a park and in Victoria near the Great Ocean Road.”
Desmond Jones elegantly casts twangy lunar magic throughout West Virginia’s sprawling Appalachian Mountains.
The Grand Rapids rock-funk-jazz quintet of John Nowak (drums, vocals), Isaac Berkowitz (guitar, vocals), Chris Bota (guitar, vocals), Taylor Watson (bass) and George Falk (sax, vocals) takes a refreshing vintage country detour on their latest jamboree-filled, celestial single, “Pink Moon.”
“The song is actually named after a music festival that used to be held in West Virginia called ‘The Pink Moon Music Festival.’ The festival was named after the lunar phenomenon we call The Pink Moon, which is a unique yearly full moon that occurred last week,” Bota said.
“I guess you could say it’s a love song I wrote to the moon. It’s meant to be sung while I’m hanging out in the Appalachian Mountains on the outskirts of a small West Virginia mountain town dancing to some wonderful live music under the moon and the stars.”
As a timeless, torchy ode to our favorite pastel-tinged satellite, “Pink Moon” awakens the youthful, nocturnal spirit as swift drums, rich pedal steel, propulsive bass, soulful sax, jubilant mandolin and vigorous violin gallop into a bright summer night.
Bota nostalgically sings, “Once a year, my dear, I’ll spend a night with you/Lookin’ at sunlight through your view/Whistlin’ a tune until the sun’s had enough of you/As you drift into the sky.”
“I wrote the song very late at night five years ago after the second Pink Moon Music Festival that we played and attended. I touched it up over a week or two of playing and singing it solo on my acoustic guitar. We recorded the drums, bass, two guitars and saxophone live at our manager Kevin McKay’s studio in the fall of 2019 three years later,” Bota said.
“The vocals, pedal steel and instrument solos were recorded at everyone’s own homes during the winter of 2020-2021. We have one guest on this track who happens to be one of our favorite Michigan musicians, Don Julin. We had the pleasure to play with Don during two of our sets at the Cowpie Music Festival in 2019, and he agreed to lend his musical talents on this album.”
Editor’s Note: According to John Hopkins Medicine, 26 percent of adults in the U.S. suffer from mental illness. That means for every 100 people you meet, 26 of them are struggling with mental illness. NAMI research also shows roughly 5 percent of adults in the U.S. struggle with serious mental illness, and 1 percent of Americans suffer from psychotic disorders.
The Detroit experimental group and rotating collective boldly recounts the internal anguish associated with lingering mental illness battles on “My Book,” which is now available on all streaming platforms.
“It’s a story about living with bipolar 1 disorder and what recovering from a psychotic break and subsequent hospitalization has been like in a recovery process that has lasted four years. Only recently has mental illness become something that is seen as less stigmatized to talk about in certain circles,” said Ben Yost, Blank Tape Tax’s drummer-vocalist.
“However, in most places, there is still a misunderstanding surrounding mental illness, especially with a disorder like bipolar psychosis, which affects 1 percent of all Americans. Although it was not written with this intention, ‘My Book’ has come to start a dialogue about mental illness and remind people that feelings are mentionable and manageable. Getting help is not a sign of weakness, but rather one of strength.”
Throughout “My Book’s” lo-fi home demo, Blank Tape Tax beautifully reveals that inner strength with Emily Parrish (vocals) and Kavon Williams (piano). Surrounded by somber piano, Parrish poignantly sings, “The words for me are hard to say/I suffer through them every day/And I just want you to hear my pain and to relate/I want to say some old cliché/But oh what the fuck/Here it goes anyway.”
“That being said, I feel conflicted about the lyrics of ‘My Book’ because I felt initially when I wrote them that they were too negative and self-pitying, but after hearing Emily perform it, I’ve come to think that the song is ultimately a positive thing,” Yost said.
“‘My Book’ was written in a few minutes as a stream-of-consciousness poem. I often write this way using free association. I recorded Logan Gaval’s first full-length, Number One, on Flesh and Bone Records, and I was listening to that at the time. I liked the way he sounded like Elliott Smith, and I wanted to write a song in that style (sort of like ‘Needle in the Hay’).”
Yost initially wrote “My Book” as a waltz on his guitar and recorded a demo. The track later blossomed once Parrish added her thoughtful vocals and Williams performed his haunting piano part in Wayne State University’s Old Main Guitar Room.
“I had always planned on re-releasing ‘My Book’ as a single. It took this long primarily because we were still forming a lineup while it was recorded, and then the pandemic hit. When Emily first sang it for us, it was awesome. It reminded me of Janis Ian, but more emotive. Emily really made the song her own while Kavon’s piano was perfect for the song,” Yost said.
Blank Tape Tax also filmed a VHS camcorder-inspired video for “My Book,” which features warm snippets of home movie style footage interspersed with a live performance of Yost, Parrish and Williams. Yost developed the raw, vintage concept for the video after watching two seminal early ‘90s skateboard videos, Blind Skateboards’ “Video Days” and Alien Workshop’s “Memory Screen.”
“The Blind video was a major influence on me as a young kid, and later in life when I saw ‘Memory Screen,’ my imagination had totally been captured by that style of filmmaking. I had also been a fan of Larry Clark and Harmony Korine, and the first two Blank Tape Tax videos for ‘Baby’ and ‘Peachy’ had been done in a similar style by visual artist Genevieve Kuzak,” said Yost, who worked with Ethan Long and Nathan Wilkey to edit the “My Book” video.
“I actually ended up being the one behind the camera while filming ‘My Book’ just out of necessity. The footage fits the audio nicely because they were both captured on tape, which gives it a warm home movie quality. All but the editing and mastering were done using analog technology and magnetic tape.”
Looking ahead, Yost and his current Blank Tape Tax lineup of Michael King (upright bass), William Marshall Bennett (piano), Mark Royzenblat (guitar), Isaac Burgess (guitar) and Parrish (vocals) will release additional new material soon.
“We have no previews of anything other than lo-fi home demos. We’re trying to do more stuff in high fidelity, and we plan on a single and an EP. We’re also debating doing a full-length since there’s no touring,” Yost said.
Two local bands will funkify the livestream universe from Grove Studios Saturday.
Sabbatical Bob and The DayNites will share soulful grooves throughout their energetic, danceable sets for Grove Sessions from the Ypsilanti rehearsal and recording space’s newly renovated Deluxe Studio.
“Sabbatical Bob comes from more of a jazz-funk fusion realm with some killer jazz-trained musicianship. The DayNites speak more of a blues, neo-soul and psychedelic language to get their vibe across. Regardless, we imagine our virtual audience will be bobbin’ their heads and shakin’ it a bit at home,” said Erich Friebel, Grove Studios co-founder/director of community engagement and drummer for The DayNites.
As Grove Studios’ second in-studio livestream performance, viewers will experience a jam-tastic show filled with bouncy wah-wah guitars, hypnotic bass, pulsating drums, upbeat horns and shiny keys.
Sabbatical Bob’s Ben Green (trumpet, vocals), Ian Eylanbekov (guitar), Ben Wood (bass) and David Ward (drums, vocals) will perform tracks from their dynamic, rhythmic 2019 debut EP,Sabbatical Bob:Live and in Person. (Keyboardist Jordan Anderson won’t be able to join the band for the show.)
“We plan on doing what we always do, bringing the exciting loud funk. We are playing some oldies from the EP, a cover or two, and some music that is soon to be released on our next record, On the Run,” Ward said. “We have never been able to share the stage with The DayNites, but they are friends, and we’ve all got to hear them play before.”
In December, Sabbatical Bob released a colorful, inspiring video for “Alright,” their peppy, spirited instrumental that defeats corporate drudgery with enthusiastic, bouncy funk. Created by Filmic Productions, it’s a much-needed cure from being trapped inside lifeless, institutional walls.
“‘Alright’ was super fun because we had a team work up the idea and present it to us. The people at Filmic are really dope and had it all ready to go. We kinda got to be super stars – even the idea for the video was intuited by the team just by listening to the music. They ran it by us once, and we were sold,” Ward said.
In tandem with Sabbatical Bob, The DayNites will bring moonlit melodies, gravitational grooves and rotational rhythms to a virtual audience. Kristianna Bell (vocals), Ryan Greene (keys, piano), Tim Blackman (bass), Shaun Maazza (guitar) and Friebel (drums) will share tracks from their R&B-rock flavored self-titled debut EP, which dropped in October.
“We’ll be playing the entire self-titled EP along with some of our own renditions of classic soul and R&B jams. We’ll also be debuting a new original written with Ryan Greene, the keyboardist from Violet Sol, who became an official DayNite last July,” Friebel said.
Viewers can purchase $10 tickets for Saturday’s livestream show via Grove Studios’ website and Facebook page. Grove Studios has flourished in the virtual music space since launching Grove Sessions, a regular livestream performance and interview series, in March 2020. The sessions spotlight a range of emerging and established artists in Washtenaw County and metro Detroit.
For Blank Tape Tax, Bobbi Jean Three Legs and Yolanda Renee King serve as the true heroes of our time.
The Detroit experimental group seeks inspiration from the two activists as they push the boundaries for equality and change in a polarizing post-Trump world. Today, Bobbi Jean Three Legs and Yolanda Renee King continually inspire a new generation of political and creative leaders speaking up about the nation’s growing social divide.
That new generation of leaders includes Blank Tape Tax drummer-vocalist Ben Yost and a rotating collective of members and collaborators, including Emily Parrish (vocals), JJ Stanbury (keys), Ja’Vahn “Jay VII” Peterson (production) and Greet Death’s Logan Gaval (guitar). Together, they poetically channel that political struggle on Blank Tape Tax’s latest single, “Hey Donnie,” via Kickpop Records.
“From my perspective, Bobbi Jean Three Legs was the leading voice in the fight against the construction of the Dakota Access Pipeline. To this day, her eloquence and bravery makes me emotional to think about when it comes to the clear abuses that took place surrounding DAPL, not only in regard to the brutal treatment of protesters, but also to the sheer disregard on behalf of the American government toward indigenous people in general,” Yost said.
“Yolanda Renee King is the granddaughter of Martin Luther King Jr., and in 2018 spoke at the March for Our Lives, which I saw replayed on TV. I was inspired by her because of her poignancy and age. She was very young, and her message was very succinct. Seeing so many young people stepping up to the plate, so to speak, at that time in my life made me want to make music that reflected the emotions I felt seeing all of this happen.”
Along with Yost, Blank Tape Tax wraps that intense emotional spirit in pithy hardcore punk and bebop jazz elements throughout the 44-second, anti-Trump anthem, “Hey Donnie.” Enraged drums, roaring sax, buzzy electric guitars and fierce bass sonically protest the opposition as Parrish defiantly sings, “Hey Donnie, I want to know.”
“I’m not sure ‘Hey Donnie’ comes close to serving as a fitting anthem. They should have sent a poet. But sometimes just trying can mean the whole world, and we may not have gotten it perfect with this song, but maybe someone will come along and do it better. That’s what I learned from Bobbi Jean Three Legs, to try your best, even if you’re not a Malcolm X, MLK, Bob Dylan or Woodie Guthrie,” said Yost, who initially wrote the track in 2017, but believes it takes on new relevance in 2021.
“The meaning of the track has not changed; we won’t back down. That being said, I’m not a great political activist. I’m just an average musician. Real activists are people like Nakia Wallace here in Detroit. I just write songs.”
All classes will include a combination of online class meetings with individual consultation and assistance with varying recording projects as well as virtual recitals. Students can now enroll for these online winter classes through WCC’s website.
“The jazz and improvisation classes allow students to work on different songs each semester and learn about jazz and improvisation concepts. They submit solos and parts online, which I mix in my studio at Alley Records to create an audio recording,” Somers said.
“The guitar classes combine both beginning and intermediate students in one class. Beginners work on basic chords and strumming patterns while the intermediate students work on melodies, solo concepts and more advanced bar chords.”
“Many of the students are interested in eventually writing their own music, and Max will help them learn more about how to market it and utilize social media,” Somers said.
As another course offering, Somers will offer a virtual non-credit Community Jazz Orchestra class through WCC that starts Feb. 24. For those seeking financial assistance, WCC’s Emeritus Scholarships provide free tuition for Washtenaw County residents age 65 and older who enroll in non-credit and credit courses, including music.
Outside of the Community Jazz Orchestra, Somers will teach a virtual Ypsilanti Youth Jazz and Music Theory Class starting Jan. 9 for students ages 9 to 18. Adults are welcome to participate as mentors and learn more about jazz music and theory.
With November’s upcoming arrival, some soulful sonic nourishment is needed to weather and withstand the remainder of 2020.
Fortifying morsels of lo-fi folk, shiny indie pop, fiery classic rock, breezy dance, garage-filled indie rock, heartfelt acoustic ballads and groovy, emotive hip-hop strengthen the mind and spirit for the unknown road ahead.
The Detroit experimental sextet of Ben Yost (drums, vocals), Emily Parrish (vocals), Michael King (upright bass), William Marshall Bennett (piano), Mark Royzenblat (guitar) and Isaac Burgess (guitar) beautifully reinterprets Minor Threat’s “Filler” as a timeless, feverish tribute to modal jazz.
“I was practicing a lot of up-tempo swing and double-time swing, and I was listening to a lot of John Coltrane. The way I was going about practicing involved listening to a song in my mind. I’d hum along to the song, ‘Impressions,’ by Coltrane, and I would play and imagine the song, and every now and then, I would hum ‘Filler’ by Minor Threat. That’s how it started,” Yost said.
That coincidental fusion sparked the melodic, glistening frenzy of Blank Tape Tax’s refreshing rendition of “Filler,” out today via all streaming platforms. Frantic upright bass, thunderous drums, crashing cymbals, sleek piano and swirling electric guitars seamlessly blend two divergent genres into a magnetic, holistic sound.
Backed by lush, intelligent instrumentation throughout “Filler,” Parrish soulfully sings, “Your brain is clay/What’s going on? You picked up a bible/And now you’re gone/You call it religion/You’re full of shit/Filler.”
“I think there are similarities between certain types of hardcore, like 7 Seconds, Minor Threat and Better Than a Thousand, and modal jazz, like Coltrane and Wayne Shorter, especially in up-tempo stuff. The pulse is really similar between the D-beat and up-tempo swing,” Yost said.
“I had written a piano score for it, and I gave it to William, and he read it down. If I write a song, then I’ll bring it to the band, and I’ll just say, ‘This is kind of how it goes.’ And then they’ll kind of just do their own thing, and whatever they come up with is awesome. I’m totally happy with it, and there’s not a whole lot of talking back and forth, like ‘Oh, you should do this,’ or ‘No, you should change that.’ Everyone already knows what to do, and it just falls into place. I’ve never had that in other bands.”
Along with his bandmates, Yost recorded “Filler,” originally a 1984 track written and recorded by Minor Threat, during a live performance for the Hazel Park-based podcast, “Broadcast from Cow Haus,” in March. While the podcast episode’s release has been pushed back, Tom Skill and Joshua Young, co-hosts of “Broadcast from Cow Haus” and members of Detroit ska band CbJ, encouraged Blank Tape Tax to put out the track.
“We did four songs, and there’s a video of all of it. They do their show in season blocks, and they are two episodes short of a season right now. They need to wait to get those two new episodes filmed before they can put everything out,” said Yost, whose band name comes from a levy that was placed on purchasing blank tapes.
While the world turns to chaos outside, it’s time to search for solace inside.
Throw work, school and virtual commitments aside for some long overdue relaxation. With headphones in hand, adjust the volume and press play to start a new musical journey into uncharted local and regional waters.
The latest edition of The Stratton Playlist serves as a refreshing sonic escape from politics, pandemics and people. Visit country-filled skies, fuzzy lo-fi jams, jazzy hip-hop points, psych rock bangers, vibrant piano pop anthems and other new terrain.
With lush instrumentation and fearless improvisation, the Rob Crozier Jazz Ensemble instantly captivates live audiences at intimate metro Detroit jazz hot spots.
The Ann Arbor jazz quartet melds spellbinding pieces of modern swing, funky soul and atmospheric world music right before an enthralled Dirty Dog Jazz Café crowd.
“That’s the heart of it and what I want people to experience at my shows. I want them to have a sense of knowing this is being created right now, and that they’re a part of it,” said Crozier, who plays bass, didgeridoo and thumb piano.
Crozier and bandmates Rafael Statin (sax, bass clarinet), Keaton Royer (piano, keys) and Rob Avsharian (drums) beautifully capture that magical live essence on their latest album, Rob Crozier Jazz Ensemble Live, which is now available on all streaming platforms.
Recorded live Feb. 6-9, 2019 at the Dirty Dog Jazz Café in Grosse Pointe Farms, the album features four jazzy Crozier classics combined with two new transformative tracks, “Leafar” and “Surrender.”
“I try to let the tracks develop with the band organically live and not over-direct it so they end up sounding fresher. When Rafael would start going off on something, the band could just follow and not have a particular set of instructions. It just really drew on the band’s ability to be spontaneous and organized in the moment,” Crozier said.
“You hear that in the little hookups rhythmically and the stuff the band does together. It’s just listening, which is what I always encourage in my group. It’s the heart of jazz. You’re playing what you’re playing, and you’re listening to make sure that you’re connecting and communicating with the rest of the band.”