This 'n' that

Rim shots, harp sparks

by Michael Caito

Bennett and Lorraine Hammond

Terrastock 3 happens in London on Labor Day weekend. Three days o' fun, again helping the Ptolemaic Terrascope stay afloat. If any Rhode Island bands attend (Medicine Ball and V Majestic have heretofore been mainstays), here's hoping they'll get a more centralized position in the lineup, as during the first two festivals both bands were marginalized, unceremoniously, into odd time slots or played head-to-head against main draws.

* Wired News explained the difference between MP-4 and MPEG-4 in what was definitely Terrifying News Item of the Week. Not MP3, but next generation, which may prove critical as far as artists' control -- or lack thereof -- over electronic distribution of and compensation for their works, be they visual or performing artists. MP-4 was started by Public Enemy as a response to rampant 'Net use of the MP3 format to download music. Chuck D and crew irritated the heck out of their label in the process of basically giving away their music. Not necessarily new ground, that. Meanwhile, recording industry giants are now trying to hash out a standard, piracy-proof specification for MPEG-4, and, specifically citing PE's naming of MP-4 as confusing the issue, are trying to not confuse everyone about the difference between this imminent, "official" MPEG-4 standard. With me so far?

How about playing MP3s on your stereo's CD player, not a CD-ROM drive? Soon come, if GoodNoise and Adaptec get their way. This emerging adapter technology promises to enable the home recording enthusiast to store up to 150 MP3's per disc. A panicky Recording Industry Association of America (RIAA), obviously freaked at this prospect, oppose MP3's popularity (kinda late for that) and this new adapter technology.

Why the fuss? Numbers: figures culled from various 'bots and cookies show the term "MP3" is second only to "sex" as far as all search engine queries. Corporations like Sony are weighing in against this newfangled adapter technology, and the RIAA's and Sonys of the world are lining up to support this upcoming MPEG-4 spec. Posturing, huge bucks, and another instance of trying to quash technology, this time protecting corporate profits while publicly maintaining loyalty to artistic rosters and copyrights. To envision participants in this struggle as completely trustworthy seems the height of naivete.

Still, it's worth reading what Chuck D says about PE's decision to invoke label wrath and trudge on with MP-4. Used to think Chuck was part thug, part nut. No more.

We've said this before: if artists decide that these concerns are too technically daunting and confusing to be worth serious investigation, consider the alternatives. One format will emerge legally victorious, another will be popular and probably free. These are the perverse yet essential instincts of the internet. And it transcends music -- for video fans, see also DVD (and now, troublesome DiVX) versus videocassettes. The battle for royalties in the next decade is being waged as you read this, and this scribe trusts none of the warriors, despite the RIAA maintaining that they have the artists' well-being at the fore. As P&J say, sleep tight.

* Guard Master P (Percy Miller) waived by Charlotte Hornets (His label has no limit but evidently his jumper does). Cat Mobley now plays with Hakeem, Sir Charles and Pippen.Consecutive Saturday noon matinees at the Civic Center pit URIversus Temple and UMass. Railroad Jerk's van broadsides Ramsalum John Bennett's car on 95 near Route 4, critically injuring the popular Bennett. Matador artists all OK. Which of these items is most important?Best wishes, John.

* Vermiform Records continues a recent surge of releases with another pair, Pleasurehorse's small purse and Mr. Brinkman's Transmittens, the former featuring Shawn Greenlee and the latter Matt Brinkman of Fort Thunder fame. More later on these, but be advised that an accompanying cassette (plus other assorted comics and mix cassettes) for Transmittens is available for the two bucks and three stamps you send to 75 Eagle Street, Box 1, Providence, RI 02906. Vermiform's current roster is available for a SASE at PO Box 603050, Providence, RI 02906.

* Those receiving the Young Neal monthly flyer may notice an uncharacteristic gig gap this month. Reason being, Neal and Co. are promoting their latest CD Thirteen (King Snake) in Europe, courtesy of Uncle Sam, playing various military venues there. More info and an itinerary are available on both the King Snake and Big Noise websites.

* Boston-based Betwixt appear at the Century Lounge Friday with the LUV's, supporting their newest David Minehan-produced pop gem Moustache (Archenemy). Imagine Siouxsie's more subdued Banshee moments in a blender with the Cardigans and you have a basic idea. Singer Leah Callahan brings star power, and cellist Gordon Withers adds substance and flavor to the quartet's sound. Good stuff, and by now the Rock Hunt champ LUV's will include songs in their set from their upcoming second full-length.

* Florence 101: While many believe that jazz and "classical" music enjoy a frosty relationship at best, in recent years superb artists like Bobby McFerrin and Wynton Marsalis have demonstrated that the gap is less wide than many imagine -- unlike, say, those which separated Florentine factions the Guelphs from the Ghibellines in Dante Alighieri's time. That split rained destruction and turmoil down on the city and all parties suffered, but nowadays jazz and classical's squabbles seem to be on the mend. It was probably with this in mind that conductor Ann Danis opened Sunday's program with a Leonard Bernstein quote culled from one of McFerrin's CD liner notes, maintaining that "It's all jazz."

So perhaps ironically it was folksmith and bluesman Chris Turner who owned the "And All That . . . Jazz!" show at Veterans Auditorium Sunday. Aided by the Joe Parillo Trio, the Philharmonic, led by assistant MD Danis, showed the blurring of lines among "classical" and jazz with works by Claude Bolling, J.S. Bach and Handel. The trio worked well in the orchestral setting, with notable turns by JP Trio drummer Mike Connors, more familiar to many for his role in Combustible Edison (which also means the Philharmonic have now jammed with a Sub Pop artist). Turner had the young crowd on its feet for renditions of his neighbor Paul Nelson's Britalia medley and the ensuing "Williams Street Blues." If Chris -- a close pal of Jonathan Richman, by the way -- was a mythological creature he would be part Siren, part Hydra (at times it seemed like he had three mouths) and of course part Big Walter. His own "Dances In the Bulrushes" was the afternoon's highlight, revealing an astonishing array of dynamics. After the program ended with the orchestra's Fantasia on Themes of Gershwin, both the young and young at heart left with a smile.

* It's comparatively easy for Stone Soup to sell out the big-name gigs, but their mission is so much more critical in the presentation of many tremendous artists who exist a shade beneath the popular radar -- except in the eyes of folk aficionados. So it's no wonder they're excited about Saturday's visit by Lorraine and Bennett Hammond, whose work on dulcimer and guitar, respectively, has earned them just that --  respect -- among those in the know. Saturday at 8 right behind that giant new, uhhh, edifice downtown.