Bela's bedlam

Plus, Black, Blues, and Baby Ray

by Michael Caito

Baby Ray

I always keep one ear cocked for audience response at the Philharmonic because there's usually a generation gap involved and it's informative to hear the opinions of those who may very well have been attending these events since my parents were in grade school. So it may be telling that there were audible cluckings as Maestro Rachleff -- who'd verbally intro'd the Scott McAllister-composed opener In Silent Thunder -- again turned to the slightly-under-capacity Vets crowd Saturday and walked them through how Bela Bartók interpreted characters musically in the ensuing Miraculous Mandarin Suite, like the McAllister a RIPO premiere.

Maybe the cluckers perceived condescension in this expository hand-holding, but afterward it was obvious that Rachleff's succinct road map was critical in assessing this dazzling, dizzying work. And though we've heaped praise on Rachleff since he assumed the podium two seasons back, more props are due for programming this tumultuous -- and probably technically dangerous to perform -- Expressionist love story involving kidnapping and murder. We meet street sharps, a ho', penniless victims and this weird Mandarin, who slowly succumbs to the enticement of the woman and falls in love while dancing with her, only to be jumped, strangled, run through and lynched by her partners-in-crime. Colorful, yes, but the tale unfolded at a breathtaking pace, with a sharply-veering arrangement keeping the suspense high throughout. To attack a slippery Gordian knot of a work like this, where so much can turn ugly so quickly, bespeaks confidence and a dollop of brashness in showcasing a technically and emotionally concentrated piece. That it sounded neither rushed nor pasteurized in the name of caution made it a fire-breathing dragon. The orchestra responded, as did the audience, cementing Rachleff's determination to continue examining some of this century's finer works as a crowd-pleasing call. On another night, pianist John Browning's equally-confident rendition of Beethoven's Piano Concerto No. 4 would have proved the highlight as Browning handled it with aplomb and grace, but it seemed less colorful after the contact sport of Bartók. McAllister's piece, though brief, recreated instinctive mental processes in surveying a scene of mindless carnage . . . a slowly-rising, bilious tide of frustration at humanity's potential for inhumanity, climaxing in a shrill sob of grief. Next up, Shostakovitch. Cluck that.

Michelle Willson: Tryin' to Make a Little Love (Bullseye Blues13-song CD)

The third time's a charm as far as Bullseye discs for "Evil Gal" Willson, Bostonian chanteuse on the loose. On her last one, So Emotional, threadbare moments were propped up by guest spots turned in by various names familiar in these here parts -- Sugar Ray Norcia, who crooned along on "Real Lovin' Mama, Real Lovin' Papa," and Ronnie Earl (at Chan's Saturday with current Broadcasters Little Anthony Geraci, Mudcat Ward and drummer Mark Greenburg) , who latched onto "Long John's Blues" like it was a life preserver, plus Greg Piccolo and Ron Levy.

This one's more of a songstress' showcase, rife as it is with critically-revered and even popchart-topping writers. "Responsibility" came from a Doc Pomus / Dr. John summit, Joan Osborne wrote the title track, and an obscure Los Lobos track penned by that band's David Hidalgo and Louis Perez surfaces on "Someday." Willson augments her Beantown band -- familiar to Chan's patrons -- with New Orleans-based sessioneers (including "Never Heard Of" Cranston Clements on guitars). Though Willson's debt to Dinah Washington remains strong the songs themselves improve -- as individually-wrapped treats. Problem is, the overall record seems less in synch and the ones that don't fit are real fugly. But that doesn't matter in the end, because blueshounds will locate a fave by hunting, and Willson's relative youth means she'll be at this for a while.

Michelle Willson appears at Cambridge's Lizard Lounge Wednesday, and at the Hereschoff Marine Museum in Bristol on February 6.

STARS & BARS. Bookending a Saturday set by Slow River recording artists Purple Ivy Shadows are two acts whose only musical overlapping would be in quality. Been bopping along to Baby Ray's Monkeypuzzle (Thirsty Ear) for a bit, enticed by their dry wit, a definite penchant for XTC songwriting flavor and Monkeypuzzle's non-stop adrenaline boost. Meanwhile Jeff Black's Arista Austin debut Birmingham Road brings together Black's songs of longing, Iris Dement guesting as are three guys from Wilco (bassist John Stirrat, drummer Ken Coomer and keys / guitarist Jay Bennett) plus Susan Rogers, who's not only produced for David Byrne but was staff engineer for the Artist Formerly Known blahblahblah (who despite idiotic name crapola is a genius and an internet visionary). Meanwhile, the Purple Ivy quartet are, as you read this, recording their follow-up CD for Slow River in Northampton with producer Thom Monahan (Pernice Brothers / Lilys / Scud Mountain Boys), and that should be completed next month, according to Shadow Erik Carlson, so we'll be hearing new stuff at the Century on Saturday.

Friday night the Safari brings in Landed, who include Six Finger Satellite drummer Rick Pelletier (who joins Mssrs. Greenlee and Kyack) and the returning John Dwyer in his own band. Word is that Landed temporary-alum Dan St. Jacques is gonna resuscitate his Olneyville Sound project.

On Friday there's another Thirsty Ear artist at AS220, this being Cul de Sac, who join JT's Pataphysical Circus goings-on and will doubtless grace the crowd with tracks from their upcoming Crashes to Light, Minutes to its Fall, recorded at JJ's Sound Station 7 by Jon Williams, who also produced '91's ECIM, (due as a reissue by Thirsty Ear in April) plus '96's China Gate and the ensuing The Epiphany of Glenn Jones. Tatterdemalion all-stars Hiss Panic Band appear with Cul de Sac.

On Saturday, the Fat Cat night at AS220 finds a sorta-reunion of Pollenate as Boston-based the Fly Seville return, featuring Jesse Blatz slingin' and singin', Colin Rhinesmith on bass / vox, Stacy Joy on keyboards / violin and Randy Noonan on drums. Pollenate alum Mike Bilodeau also appears, drumming in his new band. Fly Seville are finishing up work on their Sealed Fate debut LP, produced by Eric Masunaga and released in March, as is a label sampler called Sealed Fate Mystique, to which Fly Seville contribute.

Rand to Rand:whiffed when mentioning that the latest Robert Jordan book was Crown of Swords when in fact it's Path of Daggers (Swordswas prior to Daggers, which according to one fellow enthusiast has "not enough Mat."). This all being topical because Jordan's imprint TOR Books will release the debut and first installment in Point of Ares singer / bassist Karen Michalson's fantasy trilogy Enemy Glory this spring. The band's debut CD was all about this soon-to-be nationally-distrib'd trilogy. Karen's also contributing to the upcoming tome Feminist Interpretations of Ayn Rand (Penn State University Press) which includes an essay by Camille Paglia. Info on that and Southbridge-based Point of Ares' latest Sorrows of Young Apollo(Arula Records) are at Troma Studios www.ultranet.com/~ares. Way to go, Karen.