Jazzy Impressions – Blank Tape Tax Reinvigorates Minor Threat’s Punky ‘Filler’

Blank Tape Tax reinterprets Minor Threat’s “Filler” as a timeless, feverish tribute to modal jazz.

Blank Tape Tax eloquently unearths the jazzy side of hardcore punk.

The Detroit experimental sextet of Ben Yost (drums, vocals), Emily Parrish (vocals), Michael King (upright bass), William Marshall Bennett (piano), Mark Royzenblat (guitar) and Issac 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.

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Take Solace – The Stratton Playlist September/October 2020 Edition Provides Everyday Escape

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.

Featured artists include Shawn Butzin, Zilched, Speak Mahogany, VVISIONSS, LoraDale, The Soods, The DayNites, Blank Tape Tax, J.E. Sunde, Major Murphy, Speelburg and more.

Interested in becoming part of The Stratton Playlist on Spotify? Send your submissions to strattonsetlist@yahoo.com. All artists and genres welcome.

In Full Flow – Rob Crozier Jazz Ensemble Captures Improvisational Spirit on New Live Album

The Rob Crozier Jazz Ensemble Live album features tracks recorded over four nights at the Dirty Dog Jazz Cafe.

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.”

Continue reading “In Full Flow – Rob Crozier Jazz Ensemble Captures Improvisational Spirit on New Live Album”

Fall That Jazz – Steve Somers Offers Virtual Music Classes through Washtenaw Community College

Longtime guitarist Steve Somers performs live in Ypsilanti. Photo courtesy of Steve Somers

Steve Somers plans to jazz up fall classes in Washtenaw County.

The longtime Ypsilanti guitarist-composer will offer fall semester jazz, guitar and music courses virtually for aspiring musicians through Washtenaw Community College (WCC). Starting Aug. 31, Somers will teach jazz combo and improvisation I & II (MUS 105-106) along with beginning and intermediate guitar (MUS 133-134) to 20 students per class.

All 16-week classes will include a combination of online class meetings with individual virtual consultation and assistance with various recording projects. Students can now enroll for fall classes through WCC’s website.

“The virtual classes will be offered with Zoom meetings, and we will do recording projects online where people submit their parts or solos, and then I will mix it all down here at the studio at Alley Records,” said Somers, who also leads the Ypsilanti Youth Orchestra Jazz Ensemble.

Somers also will host a non-credit jazz orchestra class virtually through WCC starting in October. The class will feature a mix of online meetings and performances for all ages.

As an influential musician, creative entrepreneur and community leader, Somers has taught jazz guitar classes at WCC for nearly 20 years and performed in jazz, classical, blues, R&B and rock solo and group projects since relocating to the Ann Arbor-Ypsilanti area in 1979.

Somers relocated to Michigan after touring nationally and internationally with a California-based band in 1970s. They hosted mini-residencies five to six nights a week at clubs and hotels as far east as Minnesota before disbanding a few years later.

After that, Somers started studying classical guitar with Nelson Amos at Eastern Michigan University (EMU) and graduated with a bachelor’s degree in classical guitar music performance in 1984. Two years later, he studied with world-renowned composer and conductor Anthony Iannaccone while earning a master’s degree in music theory and composition from EMU.

“When I was still an undergraduate, he accepted me, and we worked for a couple of years and made some good progress writing music for piano, guitar and other instruments. Then, he accepted me in the master’s program, and I wrote a piece for the chamber orchestra that’s still in the library there,” Somers said.

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Rise Up – Asklepius Shares Majestic, Curative Transformation on New ‘Relative to a Mood’ EP

Asklepius carries a soothing, restorative sound on “Relative to a Mood” as glistening elements of prog, post-rock, jazz, ambient, psychedelia and electronica revive the soul. Artwork – Joe Groppuso

Asklepius triumphantly rises to the occasion.

The Detroit experimental post-rock trio of Justin Groppuso-Cook (keys), Dave Alpern (bass) and Matt Smiley (drums) undergoes a majestic and curative transformation on their latest aspirational four-track EP, Relative to a Mood.

“Some of the songs that are on that album we’ve been playing for a really long time. Those songs themselves evolved over time, and then Dave jumped in, and the bass gave the music more heart and more life,” Groppuso-Cook said.

“When the songs started to evolve with Dave, and we started to write new stuff for fleshed-out, different ideas, I think that additional bass added this uplifting thing, and I think we just went with it. I don’t think there was this intentional way to make it like that, and I think in certain ways, it was weird for it to sound uplifting. The music we were writing at the time didn’t sound like that was the groove.”

Incidentally, Relative to a Mood carries a soothing, restorative groove as glistening elements of prog, post-rock, jazz, ambient, psychedelia and electronica spin into a silky, sonic cocoon. All four tracks invite increasing moments of euphoria, self-reflection, progression and enlightenment as listeners beautifully emerge from an inner sanctum.

Asklepius created their own inner sanctum last summer at Detroit’s High Bias Recordings with Chris Koltay. Groppuso-Cook, Alpern and Smiley spent several days recording different live takes for Relative to a Mood with loop pedals and later added layers of keys, guitar and tenor sax.

Jubilation to Ascension

Relative to a Mood slowly unfolds with the euphoric “Jubilation” as banging drumsticks, bright and lingering piano, proggy bass, glistening synths, steady drums, light cymbals and reassuring electric strums from guest guitarist Matt Romanski bring merriment and optimism. The track also eases the mind into a therapeutic seven-minute reverie.

“We just went into the studio and started with ‘Jubilation.’ We just ran through it 10 times to get the best take, and then we were like, ‘Let’s go to the next song,’ and then we would take a break for a couple minutes and listen to all the different takes and see which one was the best one,” Groppuso- Cook said.

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Desmond Jones Calls for Global Accountability, Change on New ‘George Floyd’ Single, Video

https://www.youtube.com/watch?v=kB1cyY4WWuA

Desmond Jones emphatically speaks for countless voices lost to racial injustice.

The Grand Rapids rock-funk-jazz quintet of Isaac Berkowitz (guitar, vocals), John Nowak (drums), Chris Bota (guitars) George Falk (sax) and Taylor Watson (bass) strongly calls for global accountability, peace and unity on their thought-provoking new single and video, “George Floyd.”

Out today, it serves as a growing rally cry from the band and protesters worldwide after the May 25 death of George Floyd in Minneapolis. Desmond Jones has released “George Floyd” exclusively via Bandcamp and will donate half of the proceeds to the NAACP Grand Rapids and the other half to The Bail Project, a national organization that provides free bail assistance to low-income individuals who are legally presumed innocent.

“At the very least, I hope that it acts as a reminder of George Floyd’s story and the countless stories just like it that happen every day in this country without any repercussions. I hope that it makes people say his name and talk about why or how this could have happened,” said Berkowitz, who wrote the track.

Floyd, 46, died after Derek Chauvin, a Minneapolis police offer, kneeled on his neck and back for more than eight minutes during an arrest. Two other officers further restrained Floyd while a third prevented onlookers from intervening. Chauvin has been charged with second-degree murder while Kiernan Lane, Alexander Kueng and Tou Thao have been charged with second-degree aiding and abetting felony murder as well as second-degree aiding and abetting manslaughter.

In response, Desmond Jones’ compelling “George Floyd” single features thoughtful, echoey electric guitars, soft drums and somber sax as Berkowitz seriously reflects, “I can’t breathe he said, the cycle of oppression/Leaves only one direction to be led/I can’t breathe he said, as we heard the pain of generations past and present pled.”

“I hope that it helps people understand that this behavior and complacency of that behavior is unacceptable in this country and on this planet. With the help of the amazing video Nathan Purchase made, I think this song can show how important these issues are to people and what a serious impact our voices can have when we come together to peacefully make the change that needs to happen,” Berkowitz said.

The impactful “George Floyd” video features raw, candid black and white photos of protesters peacefully marching in Grand Rapids, Detroit, Muskegon and Columbus, Ohio. Five local, independent photographers – Nathan Purchase, Nick Small, Adam Berta, James Saville and Ryan Broton – captured and compiled the historical images during last week’s protests.

“They were able to not only capture and convey the tension and the anger of the situation, but also the unifying demand for peace and unity. Each one of these photographers was able to capture a wider image of the state of our country currently. To see how all these different people from all over were coming together in the middle of a pandemic is a powerful thing to see,” Berkowitz said.

George Floyd” also serves as Desmond Jones’ second new single and video in less than two months. In April, the band released “Major Burbank” as an ode to Jim Carrey’s legendary performance in the 1998 Academy Award-nominated film, “The Truman Show.” While “Major Burbank” celebrates a lighter side of Desmond Jones’ sound, “George Floyd” pushes the band musically and thematically toward a burgeoning political and social conscience.

“I know we are currently working on more songs that approach these political and social issues, which will be a big step forward for us lyrically and content-wise. However, besides more songs, we have been raising and donating money through livestreams and promoting our favorite local and national black artists, musicians and social leaders on social media,” Berkowitz said.

“We also have been directing people toward charities that are helping as well as local black-owned businesses to shop at. In a way, I think we’ve started to find our voice politically and don’t plan on quieting down. We are lucky enough to have a platform and right now we believe it’s right to use that to help fight against social injustice and shine a light on those who are doing all that they can to make a difference.”

Free Flow – Alluvial Fans Deposits Raw, Refined Musical Sediments on New ‘Earth to Astronaut’ Album

Alluvial Fans’ new album explores multi-genre peaks and valleys, atypical song structures and varied tempos. Album artwork – Antoine Langenieux-Villard

Detroit’s Alluvial Fans beautifully deposits raw and refined musical sediments on their solid new album, Earth to Astronaut.

Out now via all streaming platforms, Earth to Astronaut freely flows through indie rock mountains, art punk hills and garage jazz canyons to form a new fertile sound. Through these multi-genre peaks and valleys, atypical song structures and varied tempos, Alluvial Fans’ second album deeply explores the spaces between distorted, mosh-worthy cathartic freak-outs and quiet, sentimental and reflective moments.

“Sometimes your mind goes, and you find yourself jumping from place to place. And that’s sort of how my mind was working at the time and how it has been just kind of scattershot, and now I’m more aware of that. I wanted to represent that kind of fragmented or abstract thought in the lyrics, and in sum, I wanted to become more precise,” said Drew Bartosik, Alluvial Fans’ vocalist-guitarist.

“For the past two years, I’ve been practicing meditation and trying to become more self-aware and mindful of my thoughts and how I act in my environment. Things now are becoming more focused and cohesive for song ideas, and I wanted to highlight the vulnerability in that respect.”

Bartosik and his Alluvial Fans bandmates Gilad Granot (bass) and Ollie Elkus (drums) venture deep beneath the Earth to Astronaut surface to examine a juxtaposition of themes, including technology and nature, independence and interdependence, and reflection, solidarity, and devotion, over 10 expansive, metaphysical tracks.

From ‘Blowouts’ to ‘Droves’

Together, they weave an erratic, yet refreshing jazz-punk-garage-rock fusion on their latest single, “Blowout/Future Games,” which starts with light cymbal taps and delicate electric guitar and quickly erupts into a frantic musical cataclysm.

During the “Blowout” section, Bartosik eagerly shouts, “Yeah!/You never look me in the eyes these days/You’re so far gone/You’re so far” and memorably repeats, “Two for my friends/One for myself.” The first half also serves as a scintillating ode to the Detroit-Hamtramck indie rock scene.

Next, “Blowout” seamlessly segues to the mellow, thoughtful “Future Games” section with light drums, calm vocals and easygoing electric guitar strums. Bartosik quietly sings, “If the future’s playing games with me?/Who is the player playing games?/It’s just the future playing games with me/It’s just the future playing games.” Here, Alluvial Fans questions the uncertainty that lies ahead, especially in an unthinkable year like 2020.

Continue reading “Free Flow – Alluvial Fans Deposits Raw, Refined Musical Sediments on New ‘Earth to Astronaut’ Album”

‘The Desmond Jones Show’ – Grand Rapids Quintet Drops New Truman-Inspired ‘Major Burbank’ Video

For Desmond Jones, authenticity reigns tried and true.

The Grand Rapids rock-funk-jazz quintet of John Nowak (drums, vocals, guitar), Isaac Berkowitz (guitar, vocals, drums), Chris Bota (guitar, vocals), George Falk (sax, vocals) and Taylor Watson (bass) embraces their holistic selves on “Major Burbank,” a new glistening, groovy video out today. It’s the first new studio material Desmond Jones has released since their Hello, Helou album last July.

The 10-minute slow, transformative jam pays tribute to Jim Carrey’s legendary performance in the 1998 Academy Award-nominated film, “The Truman Show.” As an authentic ode to Carrey, “Major Burbank” majestically combines sparkling guitars, velvety bass, dancy drums and sensuous sax as Berkowitz smoothly sings, “So come back in to/The old world you knew/And although it’s not true/We’re all here for you.”

“With a flawless Jim Carrey performance and the layered philosophical themes present throughout the movie, ‘The Truman Show,’ makes for an excellent flick. We here at Desmond Jones aim to not only remind the listener of these important themes and encourage them to think further and pull back the curtain, but to also gain financially from the film’s popularity as well,” said Berkowitz, who wrote the track.

“We’re really excited to get this song and video out for everyone to enjoy and boogie to. We also encourage anyone who knows Jim Carrey to pass this song along to him because we think he’d dig it.”

Filmed this past winter at Plymouth Rock Recording Company, the “Major Burbank” video beautifully depicts Desmond Jones wearing fun, glitzy outfits and colorful, glam-inspired makeup on a dark, smoky soundstage while vibrant spotlights glow behind them.

Videographers Nick Small, Ryan “Toby” Hyland and Wayne Small eloquently capture the band’s magical instrumentation and rich improvisation from several innovative camera angles.

“That’s one of our newer songs, and the only recording we have is the video we took at Plymouth Rock. We did probably three full live takes, and I think we took the second one. They filmed each one, and when we chose the take we liked most, they put it to film and mixed and mastered it afterward,” Nowak said.

Continue reading “‘The Desmond Jones Show’ – Grand Rapids Quintet Drops New Truman-Inspired ‘Major Burbank’ Video”

World-Class – Tracy Kash Creates ‘Fierce’ Global Sounds on DMA-Nominated Album

Tracy Kash blends eclectic sounds to create a world music feel on “Fierce.” Photo by Aly Darin Photography

Tracy Kash fiercely brings world-class sounds and styles to the Motor City.

The Detroit world music vocalist, flutist, pianist, composer and arranger delightfully blends classic elements of jazz, soul, pop and theater into a dramatic center-stage sound on Fierce, her fourth and latest album that’s currently nominated for Outstanding World Music Recording in the 2020 Detroit Music Awards (DMA).

“It’s a tricky thing because I am kind of all over the place stylistically. When people go, ‘What kind of music do you play?’ I just say, ‘Um, yes, I don’t know what to say,’” Kash laughed. “Some of them are older tunes. I was never sure if I was going to record them. The rest of it came organically over the course of about eight years because I hadn’t released anything since 2010.”

For 2019’s Fierce, Kash assembled a star-studded cast of musicians called the Bro’ Fos, including Pat Shanley (guitars, mandolin, backing vocals), Chuck Bartels (bass) and Van Hunsberger (drums), to bring the album’s 11 sensational tracks to life. They spent six months recording the tracks with producer Tom Rice at Eastpointe’s Audio Café Studio and Eric Morgeson at Dearborn’s Studio A Recording.

“Most of it is just mastery of their instruments. When I put together rehearsals, performances or recordings, unless there’s something really specific I’m looking for, I won’t arrange each part. They’re such great musicians, and because of that, it gives them the freedom to bring something that’s more natural to them to the recording or the performance,” Kash said.

Getting ‘Fierce’

“Fierce” album artwork

With a troupe of A-list collaborators, Kash launches her eclectic Fierce sound with “Face Time,” a jazzy opener featuring swift piano, vibrating electric guitars, deep bass and pounding drums.

Her soulful vocals warn lovers to eradicate the ghosts of past relationships in favor of new ones – “I’m the one you run to/To unload a heavy heart/I’m happy knowing I can do the same/Well maybe it’s because I’m naïve/I assume that I’m the one you need/But the doubt comes when you call me by her name.”

Continue reading “World-Class – Tracy Kash Creates ‘Fierce’ Global Sounds on DMA-Nominated Album”

Double Groove – Ma Baker Hosts 2-Set Blind Pig Show Saturday with Scüter, Sleezy Hamilton

Ma Baker blends elements of rock, funk, jazz and disco into their groove-filled sets. Photo courtesy of Ma Baker

For Ma Baker, Saturday’s Blind Pig headlining set will bring double the jams and twice the grooves.

The Ypsilanti jam fusion quartet will host their first two-set show at Ann Arbor’s legendary rock club with EDM artists-DJs Scüter and Sleezy Hamilton against an enchanting backdrop of live visuals and electronic vibrations.

“It will be the first of its kind in terms of a local show equipped with three interactive screens for live visuals controlled in real-time by visual artist Mark Samano and Scüter,” said Jordan Smith, Ma Baker’s guitarist and keyboardist. “Our goal as a group has always been to get to the level where our shows feature two sets. Our intent is to create a conversation between the band and the audience.”

Ma Baker also will feature different genres during each set – the first will spotlight funk while the second will capture a psychedelic-experimental feel. It’s the ideal setting to reimagine an EDM scene in Tree Town while sharing a mix of originals, new tunes and covers intertwined with improvisation.

“We chose to pair ourselves with two DJs to differentiate this show from the typical three groove-jam band bill the way we normally play at The Pig. All of us in the band love electronic music and rock and roll equally, and we wanted a night to really surround ourselves with more electronic vibrations and interactive visuals more akin to the ‘Movement’ or Detroit techno scene,” Smith said.

In 2012, Smith discovered a shared love of EDM and rock with a collective of community college students in Ann Arbor and Ypsilanti. Together, they rented a storage unit two miles from school to jam, improvise and store gear while having deep philosophical discussions late into the night.

Those initial sessions led to forming Bearfoot with 10 rotating members who would perform based on availability with zero premeditated music. By Devil’s Night 2015, only four of the 10 members showed up and a new creative chemistry emerged. Six months later, the band’s original lineup played their first show on Earth Day at Ypsilanti’s Corner Brewery.

As a quartet, Bearfoot became Ma Baker (after the 1977 Boney M. disco track) and now includes Guy Williams (guitar), Jared Weimer (drums), Dylan Risinger (bass) and Smith in their latest formation.

Continue reading “Double Groove – Ma Baker Hosts 2-Set Blind Pig Show Saturday with Scüter, Sleezy Hamilton”