Jazz duo shine in virtuoso performance         
 
Every now and again strange things happen to reinvigorate one’s soul, refresh your spirit or generally rekindle the joy of life.  Just such a strange anomaly occurred Sunday afternoon at the Strand Theatre via the inspired music of keyboardist Dave Hepler and bassist Frank Smith.
In an afternoon show which highlighted many of the countless facets of jazz, including choreographed, syncopated improvisation, dexterous finger work and passionate play, this duo of two talented dudes with instruments took audience members on an emotional ride into the tones, textures and tempos of pure music and musicianship.
It was an enjoyable, educational and enlightening romp through both the dance of music and emotions conjured up and tugged from the brain and body by mere sound alone.
From funkified, smoky sounds of the opening tune through several variations on themes, some moody introspective pieces and one or two sheer maestro performances by Smith on bass, this was a concert that left you wanting more: more sounds, more moods and more music written, composed and passionately played by Hepler.
Hepler’s emotional and melodic interpretations, especially “Beauty and the Beast” and more poignantly “Imagine,” by John Lennon were merely tasty appetizers for a show filled with sonorous peaks and valleys of impassioned riffs of syncopated bliss.
 One such pinnacle of musical fortissimo occurred early on in Hepler’s original tune “Major Hollin’s Rumpus” as his keyboard work drove and inspired Smith into a rather extended, frenetic romp of skill, precision and furious play on stand-up bass that seemed to catch fire, burn and smoke under his deft fingers.
Another furious musical gallop, driven by these two talented dudes, occurred later on with “St. Louis Boogie,” which evoked the wide-ranging varieties of jazz, especially its finger- snapping, toe-tapping and swinging-dance energy.
Further exploring the expansive limits of jazz style, Hepler and Smith shined on a different type of tune that significantly showcased the ability of mere instruments to induce emotion through sound alone.  Musically, this original composition by Hepler, based upon classical guitar styles, passionately fulfilled the promise of its title: “Beautiful Sad Song.”
In each and every song performed this duo created and constructed an all-encompassing tonal masterpiece of a concert to spotlight a fusion of styles, tempos and musical genres all filtered through the rhetoric of jazz. In short, it was concert that smoothly swung between polarities: sometimes into moody reflective rivers of music and at other times a raucous romp, or rather a rumpus, through the vistas of rhapsody, rhythm and syncopation.

 
As mentioned above it was music which reached deep into your soul and made one forget everything but the emotions evoked through sound, an amazing  thing  for even two dudes as committed , passionate and talented as Hepler and Smith.

Rising  talent rocks the Strand
 
A rising tide of youth swept into the Strand Theatre Saturday night in a show by two bands sharing the same guitarist.
 Like the bulging swell of a tsunami, this guitarist/singer/ songwriter, 17-year-old Kit Haymond,  displayed his sometimes raw, sometimes rhythmic sounds, passions and sheer bravado which promises, in each band, to break like a cresting wave of musical skills
Each band, in its own style and way, appears poised and ready to deluge fans in a flood of sound arising from the garages of Middletown and Waldron, where both bands, “Caffeine” and “Pressed in Black,” hone and refine the tidal onslaught of rock, blues and funk( into folk waves of sound.
Saturday night’s concert at the Strand opened with “Caffeine’ a trio of teenagers featuring Haymond on guitar, Kathleen Clary on mandolin and guitarist /singer Darren Isaac, winner of the most recent Shelby Idol.
 Isaac’s crooning vocal style was emphasized and shined on several traditional ballads the trio performed in a set best characterized as funky, folk music which recalled the coffee-shop music of a time, (the 1960’s) before any of these musicians were born.
In a short opening set, recalling the calm before a storm, each member of “Caffeine,” flashed the pregnant and poised talents, skills and passions which seem to simmer below the surface of their music. They are a band swelling with potential and one to scan the horizon for in the next few years as they physically grow into their promise and musically mature.
The evening’s head-lining act, “Pressed in Black,” is another trio featuring Haymond’s  skills, this time his prodigy-like passion for  songwriting and his  precocious blues and hard-rock guitar play.
This band, rounded out by bassists Jason Mibourn and drummer Matt Green, is a tight, joyous trio whose musicianship and music evokes the raw, spontaneous feel of sitting in a garage and listening to a jam session.
In point of fact, this is a band with cojones and the talent to back it up which became evident in the first eight songs, five of which were original songs written by Haymond. It is rather refreshing to witness such a bravado, tour-de force performance of compelling music, especially when a band performs a song that is merely two-days old as “Pressed In Black” did on their ninth tune “Last Song.”
The birth of new music (a dozen or so songs in two sets) is always an exciting thing to witness and the “Last Song,’ is no exception.  It is musically a very interesting piece with a challenging circus-freak kind of rhythm, that recalls both “The Doors” and “The Animals.” 
Indeed, original tunes abounded frequently and early during the twin-sets of rather eclectic music by this local trio.  From the second song, “Let it Ride,” a mellow, alternative ballad, to a later Ska inspired song and finally into a second set of several uninhibited hard-core thrash songs featuring full-frontal metal, this is a band that is always in your face, both artistically and musically.
In point of fact, “Pressed in Black” is a band without fear, a band willing and able to test it latest, newest music live before an audience, a band which seems to revel in the raw promise of live performance to explore new sounds.
 Another unique feature of this concert was the unplugged songs performed band members between sets.  Alone on stage, sitting down individually under a spotlight, Milbourn sang a rather raspy, gritty alternative version of “Billie Jean.” He was followed to the microphone by Haymond who sang a Buddy Holly tune .
“Pressed in Black,” even more than “Caffeine,” is a band bursting with passion, talent and an unbridled passion for music that does indeed swell off stage like a tsunami and deluges the audience in a deep, resonant wave of sound. Watch for their rising tide of artistic mayhem, and be aware a tide of malevolently creative music is arising out of Middletown.

Future of Transportation explored in initial 2010 lecture

Once upon a time, in the not so distant past, Indiana was known as the cross –roads of America for the rail lines, both passenger and freight that traversed the state.

Today a group of dedicated Hoosiers hope to recreate this reality and once again make our state a transportation hub for the nation, Dennis Hodges of the Indiana High Speed Association told audience members during his lecture at the Strand Theatre Tuesday night.

In the early decades of the past century rail lines became the backbone of personal travel and industrial growth for Indiana, he added, and by 1916 Indiana had the largest interurban rail system in the nation.

Times have changed. Service sector jobs have replaced manufacturing as the state and the region’s largest employers and rail lines, while still in existence, have serious declined, particularly for personal transportation. Beginning in 1992, the Indiana High Speed Rail System has been working to change this, and with dawn of a new century and the newly  proposed Midwest Regional Passenger Rail system in the works, the future is pregnant with possibilities, according to Hodges.

“I am a firm believer that we can be an aggressive innovator in transportation again in the 21^st century,” Hodges said.

He added that Indiana has already dedicated 636 miles of rail lines for high-speed passenger service and encouraged everyone to inform legislators about the economic, environmental and social value of a rail system linking Shelbyville to a line connecting Chicago, Indianapolis and Cincinnati.

These trains would not merely benefit local and regional business but would also encourage tourism, create jobs, boost local economies and greatly increase the cultural possibilities for citizens across the Midwest.

The proposed Midwest Regional Passenger Rail System is a nine-state project that hopes to connect roughly 3,000 miles of tracks with trains traveling at around 130 miles-per-hour. Hodges added that his organization envisions the rail system as an economic hybrid: a partnership of private and public funding.

Aside from petitioning government to take action on a comprehensive transportation plan for the 21^st century, he added that local communities and the state “need to plan for development around these transportation systems” and the hubs of travel and commerce they will create.

Once upon a time Americans  prided themselves in leading  the world in technologically advanced transportation systems, whether it was intercontinental or inter urban rail-lines, yet since the 1980’s we have watched  from the sidelines as France ,then Japan and finally all of Europe embraced the technology of the future.

As someone who has travelled extensively while abroad in the military I can and do rave about cheaply riding the rails across Europe in a weekend to visit museums, restaurants, cafes and concerts at will.

Equally for years now I have often pondered upon and lamented the lack of clear commercial and cultural vision in this country regarding public transportation, especially in light of increasing shortages and frequent price spikes in gasoline prices. A comprehensive plan to actually approach the future of transportation in our “service economy” is welcome sign.

Shelby Community Band celebrates America’s musical heritage

The meticulously played melodies and rich, smooth, fluid, yet, rippling sounds of The Shelby Community Band filled the Strand Theatre Sunday afternoon in a well attended “mid-winter” concert.

“The community band is local group of volunteers who love music and love to perform and share,” said conductor Russ Smith.

The 40 -plus musicians, semi-circled on the historic stage, guided the crowd through a 14 song    journey of music written for movies to traditional marches and several, classic tunes from the Great American Songbook. Despite the band’s formal black and white attire the afternoon was a rather colorful parade of sound; full of spirit and rich, vibrant cadences, harmonies and melodies.

From the patriotic opening, a powerful rendition of “The Star Spangled Banner,” sang by guest vocalist Marilyn Branstetter through a rousing instrumental finale of “Stars and Stripes Forever,” it was an enjoyable, relaxing, yet, invigorating afternoon of musicianship.

In short, it was a concert filled to the brim with sounds as rich and shiny as the polished brass of the horns clustered on stage with the music intensely reflecting the talents, skills and passions of these volunteer musicians.

This passionate affection for musical heritage and its exquisite display during performance was highlighted by the bands take on “West Side Story.”  The tune is an epic, musical tour -de –force of American song, which combines jazz syncopation with traditional and classical themes.  As performed, by the Shelby Community Band, it showcased the finely melded, fluent sounds of instruments that mingle, merge and sing together in a diverse celebration of the roots of American music.

The showstopper, for most of the crowd, however, was Branstetter’s texturally, rich and well cadenced vocals on another Gershwin song (by George and Ira); “They Can’t Take That Away From Me.”

For me, however, the awe inspiring moment of the afternoon was The Shelby Community Band’s take on “Flight of the Piasa,” by Robert Sheldon. This musically challenging piece is a spiritually moving and varying melody that in its artistic essence soars, sails, glides and dives like a mythical bird in flight. It was an elegiac piece well played and finely phrased, musically. The band’s complex, yet, commanding performance literally made me want to close my eyes and fly away with the music.

Equally exhilarating, in another fashion, was the band’s play of a march lifted from the silver-screen of yore: “Colonial Bogey,” better known as the song from the movie “Bridge over the River Kwai.” A trilling march, played with the triumphant defiance of a song that celebrates the endurance of he human spirit.

Sunday’s concert, in fact, was an enjoyable, extended celebration which showcased the timeless, universal nature of the pleasures, sensations, moods and feel of music. It also emphasized the often unrecognized treasure that resides sometimes forgotten, but never silent, in our midst: the passionate, committed musicians of the Shelby Community Band.

American Indians enlighten, entertain crowd at Sunday service

In Native American culture artistic expression is often a form a spiritual communion and this religious, mystical experience was shared Sunday afternoon at the Stand Theatre by the members of the American Indian Center of Indianapolis.

For more than two-hours, audience members were educated, entertained and participated in a cultural forum sponsored by Shelby County Reads which focused on the traditions, history, lore , spiritual beliefs and artistic celebrations of the original caretakers of American soil.

“The drum is the heartbeat of Native Americans,” Doug Poe told the rapt audience gathered in the theater. “Drumming, dancing, singing and playing music are a form of prayer in our culture.”

This eye-opening, often haunting journey opened and closed with a rather fitting   bridge across cultures: a “Veterans Dance,” performed by several dancers in full, “traditional regalia” accompanied by the resonant drums and other-worldly vocals of Four Winds singers and musicians.

This “Veterans Dance” is a celebration and thanks-giving offering to all who served our land, community and country, added Poe, of the American Indian Council. The final performance of this more modern dance included quite a few veterans from the audience who danced on stage after being praised for their service. The crowd, in fact, joined the dancers several timers on stage during “inter-tribal” dances during the afternoon.

In a not so subtle irony, Native American’s dance was outlawed by the United States government in 1883 said Poe, during a Power- Point presentation that highlighted the historic litany of physical and cultural genocide against Indians in the country. This ban, which in effect outlawed a form of religion, was historically inspired by the “Ghost Dance” that swept the Great Plains in the aftermath of Gen. Custer’s disastrous defeat.

While a “Ghost Dance,’ was not performed Sunday, another traditional Plains Indian mystical dance was. The “Grass Dance is the oldest surviving dance of the Plains Indian cultures. It is a spinning dance designed, it seems to me, as a trance- inducing shamanistic communion with the creator.

Another clearly inspired mystical, mythic dance was the “Hoop Dance,” a crowd favorite Sunday afternoon. This “ medicine” dance is a metaphoric allegory of the world, an interwoven series of circles that symbolically come together to both describe and define the Native American vision of the world. It was and is replete with the symbolism of circles uniting and coming together to form into visually complex images and forms that also simultaneously merge to form the world as a series of circles.

Aside from these often spiritually infused dances, the evocative nature of native American  musical traditions was driven home to the crowd by the echoing of the drums and a rather poignant display of flute music by Jeff Roberts.

In American Indian culture the flute was traditionally the instrument of courtship, according to Poe. While it was used to serenade brides, the inspired flute play of Roberts evoked a more emotion laden and lamenting experience. His very haunting, willowy, textured tones of breadth and melodic breaths were again filled with longing and spirit.

In a rather significant ceremony, which highlighted the spirituality of the event several members of the American Indian Center blessed the theater prior to their performance in a ritual sage  burning ceremony.

Following the initial Flag and Veterans Dances which serve as traditional Native American national anthems the crowd rose to its feet. The ceremonies then reconvened with Carolyn Statler of Shelby County Reads addressing the awed crowd.

“Welcome to this wonderful, wonderful event,” she said, “and I would encourage everyone here to also attend our program featuring  James Alexander Thom, author of “Follow the River” and his wife Dark Rain Thom, who will speak Wednesday night at 7 in Breck Auditorium at Shelbyville High School.”

Overall, this American Indian Cultural Forum was a colorful, yet thought provoking journey that once again reminded one of the importance of creativity, celebration and art that spans, informs, influences all cultures across this globe that we call home.

In conclusion, anyone with an abiding interest in Native American culture was well served by the Sunday’s service at the Strand Theatre and should, could and can further educate themselves about this traditional culture at the Shelby County Library, the Grover Museum or by reading any of the books currently being promoted by Shelby County Reads, which can be purchased locally at Three Sisters Books and Gifts on the circle.

Submitted by:  Terrance Aldridge

This independent review does not express the opinion of the Strand Theatre.

Local bands Rock for Relief

A trio of local bands jammed out for charity and entertained an energetic all- ages crowd Friday night at the Strand Theatre during an exhilarating evening of eclectic music and inspired performances.

The benefit concert “Band Together for Haiti,” was organized by Sara Chappella and all proceeds from the show were donated to the American Red Cross.

“I decided to get this together after seeing the faces of those affected by the devastating earthquakes in January on television and seeing pictures on the internet,” Chapella said. “As human beings it is our duty to help out those in need, and it should give us hope that we will receive help when we, too, are in need.”

Each of the 15 musicians on stage during the benefit exuded passion in their performances and joyous revelry in their inspired, often extended jams.

“All three bands came out for a good cause and treated the audience to a wide variety of music from the blues to funk to punk,” said bassist Jim “Biscuit” Wisker, one of many local musicians in the audience during Friday‘s charity extravaganza.

The opening act “The Jugbusters,” is a self-styled “barn –band” whose opening song was filled with fluid intonations which recalled jamming out on the back porch on a lazy summer afternoon.

After this rather mellow intro, the band jumped full-fledged into blues, southern rock and rockabilly inspired music that had many small children jumping and dancing in the aisles. It is not everyday that one sees a band led by dual harmonicas accompanied by thumping bass and slow-hand style blues guitar work. This harmonica- infused music was only intensified as the band invited special guest, Carson Diersing, on stage for three songs.

In three songs this 12-year-old prodigy stole the stage and thunder first with a soaring harmonica and then on guitar in a rockabilly romp through Chuck Berry’s classic “Johnny B. Good.” Later in the night, Diersing joined the final act, “Sub* Mission,” to display his musical range in a punk take of Johnny Cash tune.

If “The Jugbusters” is, indeed, a “barn-band” then that is one rocking barn and surely all the animals would be grooving and dancing ecstatically, especially during this band’s raucous version of the blues classic: “Little Red Rooster.”

The second act of this eclectic night expanded the evening’s musical horizons in a high-energy, funkified set filled with popping guitars and the full, fat sounds of screaming and wailing horns.

The members of “Day Job Blues,” literally jumped, bounced and bounded with unbridled energy, especially trombonist and lead singer Eric Kendall, during an intense set that rang out with excitable, popping funk to the hard-core down and dirty grit of the blues.

The fat, full, brick wall of sound conjured up by this 5-piece band was driven by the inspired horn play, both saxophone and flute, of Cathy Hurt. This woman, in point of fact, is a one-person horn ensemble whose emotional range is exceptional.  From the trilling flute of “Jethro Tull” through saxophones of “The Average White Band” to “Michael Jackson” and James Brown tunes, her horns wailed, screamed and reigned supreme. The godfather of soul was a natural for this band’s funky, tremulous barrage of robust and ripping sounds.

After this ribald romp through the big sounds of 1970’s Motown, the evening’s final band, “Sub* Mission” launched into a raw, fast, avalanching cavalcade of old-school punk.

Led by Scot Schrader’s vocals and guitar work this band’s highly energetic and frenetic tour of alternative musical vistas hits one like a rush of adrenaline.

From drummer Dave Fannin’s  growling lyrics on “Thunderkiss 5000” to bassist Mark Dietrich’s  vigorous take on  “Plowed” by “Sponge ,” this hard-core  trio live up to  the amphetamine aesthetic of punk style.

I have seen “Sub*Mission” many many times and they are a band that continues to musically grow and expand their vision.  During Friday’s set, for example, of the first 12 songs the trio performed I had only heard one performed by this band before. Several musicians in the audience, in fact, ask me which punk band ever before covered either “Johnny Cash” or “The Everly Brothers” before. Thrash takes on Cash I have heard, never, however, do I recall anyone punking –up “The Everly Brothers.”

In retrospect, “Band Together for Haiti” was an exciting, energetic and exhilarating evening that proved to me once again that art fused with passion can and should make a difference in the world both abroad and at home. The evening, in fact, was best summed up best by another local musician enjoying the night from the comfort of the crowd.

“It was night of great music by fantastic musicians and all for a good cause,” said drummer Jim Whitaker.” A good time was had by all.”

Regional musicians celebrate Dylan’s legacy

An especially rich and talented ensemble of 22 singers, musicians and a poet gathered Friday night at the Strand Theatre to celebrate the eclectic genius of Bob Dylan.

It was a show that musically defined why Dylan is more than mere legend and how this maestro of Minnesota is still able to inspire new generations as he musically morphed from a folk singer to hipster to electronic hippie and then became a guru of grunge. All these styles, plus several more Dylanesque  incarnations , were on display Friday night at the Strand in “Hoosier Dylan,” a show conceived by Tim Grimm.

The show opened with the reflective harmonies and mellow, rapturous voice of Bobbie Lancaster singing alongside the rich throat of Jennie DeVoe. Nearly 50 songs and more than four hours later this entertaining, educational exploration of Dylan’s massive repertoire of musical styles ended as 20-some performers packed to the stage to sing “Like a Rolling Stone.” In between, the music ranged from bluegrass to folk, blues, children’s songs, classic hits and even a spoken word tribute to the beatnik bard by Indiana Poet Laureate Norbert Krapf.

Krapf’s spoken ode to Dylan, “the Voice,” was a proper, fitting tribute to the man who fused lyricism, social protest and music into a new genre. “I really push to reunite poetry and music and what a great format this is for that,” Krapf said .

Musically, Shelbyville was represented on stage Friday night by “the Complete Unknowns,” whose rousing, thumping, pounding electric folk rock songs of the early Dylan energized the audience.

It was, however, the women, DeVoe and Lancaster, accompanied by lead guitarist Gordon Bonham, who opened the eyes and ears of the crowd to Dylan’s stylistic gyrations. First, Lancaster of Bloomington, recalled Dylan’s early socially significant ballads with “Masters of War,” a song sung with a sweet voice of righteous anger that wiled angelic and indignant. DeVoe, for her part, concentrated on the blues tunes of Dylan, in her haunting, spellbinding version of “Man in a long Black Coat.”

While immensely enjoyable, these two rather expected styles of Dylan merely warmed up the audience for two eye-opening acts that displayed the wide ranging legacy and cross generational influence of Dylan’s musical evolutions.

The initial shock came from the “White Lightning Boys,” a band from Brown County who escorted the crowd into Dylan’s forays into country music, especially bluegrass. This band brought the gritty, down- home, earthy styles of Dylan with their controlled frenzy of fine picking, plucking, strumming and full -finger playing of traditional bluegrass.

The other often unexpected manifestation of Dylan as godfather of grunge music was highlighted a band of Columbus East High School students: “Joyous Garde.” This band played some later, heavier more electrified songs of Dylan, as well a s few classics that were written and recorded several generations before these musicians were born.

All- in- all, “Hoosier Dylan,” was a masterful musical retrospective and it is obvious that each band, musician or singer have mastered one or more styles of Dylan and his multitalented, perversely rebellious take on music and musicianship.

Friday night’s finale ,“Like a Rolling Stone” was literally a wall of sound vocally, visually and musically as this talented ensemble gathered on stage for a final romp through the eclectic tomes of Dylan in a show of truly epic proportions that ended with a standing ovation.

Submitted by:  Terrance Aldridge

This independent review does not express the opinion of the Strand Theatre.