Nordost Playlist – April 2017

Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.

Here are some of the songs that we will have on rotation this April.


  1. A Sunday Kind Of Love—Etta James—At Last
  2. Just Like You—Bosley—Honey Pig
  3. Red-Eyed And Blue—Wilco—Being There
  4. A Rose For Emily—The Zombies—Odyssey And Oracle
  5. Blind Ambition—Sophia Bastian—Blind Ambition
  6. Freedom Is Free—Chicano Batman—Freedom is Free
  7. Baldamore—Hadouk Trio—Utopies
  8. Feel It Still—Portugal. The Man—Feel It Still
  9. Chanel—Frank Ocean—Chanel
  10. Saturnz Barz—Gorillaz—Humanz

Nelson Brill Reviews The Wood Brothers at The Somerville Theatre

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound.

In this blog, Brill heads to The Somerville Theatre to see The Wood Brothers perform their carousing vaudeville and fiery rock n’ roll” set. 


By Nelson Brill

FEBRUARY 12, 2017

The Somerville Theatre (located in the heart of Davis Square in Somerville, MA.) opened its doors on May 11, 1914 and the first acts that graced its stage that night were a vaudeville act; a “singing skit” and a “comedy playlet”. ( One hundred years later, the Somerville Theatre is still going strong.

On February 8 and 9th, The Wood Brothers ( came into town to deliver their own version of carousing vaudeville and fiery rock n’ roll on the Somerville Theatre’s historic stage to the delight of their rollicking, dancing audiences.

The Wood Brothers (“the Brothers”) love to harken back to the days of original vaudeville and folk acts. Midway through their performance on February 8th, the Brothers (Chris Wood on bass, vocals and harmonica; Oliver Wood on vocals and guitar and Jano Rix on keyboards, vocals and everything percussive) dimmed the Somerville Theatre house lights, turned off all stage microphones and gathered in a semi-circle around a single antique microphone (which they call their “Big Mic”). Basking in this autumnal glow, the Brothers performed the filigree title track from their 2013 recording, The Muse [Southern Ground Artists] and their classic, “Postcards From Hell,” (a tribute this evening to the late Levon Helm) in stately sweet harmonies.

The unkempt beauty of these stark ballads highlighted the down-home feel of this great band and their consummate musicianship. Each number combined far-ranging influences such as a brush with Calypso beats (in Chris Wood’s pumping bass solo) to Oliver Wood’s country vocal touches.

Other sweetly grooving numbers at this concert included the opening “Two Places” and “Touch of Your Hand” (both taken from the Brother’s excellent 2015 recording, Paradise [Honey Jar Records]), with Oliver’s lithe and clear vocals shimmying alongside Chris’s pungent bass and Rix’s keyboard off-kilter splashes.

The Brothers’ common pulsing sway also highlighted their sardonic “American Heartache” with the rasp of Chris’ harmonica cutting deep into the trio’s soaring harmonies that combusted in thunderous drum and snarling electric guitar hits.

Betwixt and between these grooving ballads and blues, The Brothers took off on a raucous ride through their arsenal of full tilt rock n’ roll sending their lyrics (both comic and cutting) soaring on ripped-up guitar chords and huge bass pelts. Leave it to The Brothers to come up with lyrics such as: “You put your lips in the wind and hope for some kisses back” or “He hails from the great state of confusion and he now pulls a push broom at the inconvenience store.” The latter lyric is taken from their soaring “Singing To Strangers” that crushed with gleeful guitar heat and was partnered with “Snake Eyes” (both numbers found in spirited versions on Paradise) that had Chris Wood dancing in playful revel: he pounded his exuberant bass strings into a frenzy and then, (holding onto the very tip of his huge acoustic bass) he shimmied across the stage to finally fall on his knees to the blasts of Rix’s gut-thumping drums.

The frolic continued with blazing harp and bass propelling the boogie of “Honey Jar” as Oliver Wood sang in his wonderfully dry, expressive and thin-as-a-reed vocals. This careening number was partnered with the exuberant “One More Day,” a song that was first recorded on The Brothers 2006 recording, Ways Not To Lose [Blue Note]. (For audiophiles, I recommend Ways Not To Lose as The Brothers’ most natural sounding recording to date, because it records them in an intimate session with natural tones and textures to their beguiling instrumental and vocal interplay, with the spirited drummer Kenny Wollesen in the creative mix).

“One More Day” took on a furious pace and blistering heat at this concert as Oliver took up his electric slide guitar with fervent swipes of crushing and blurred high notes followed by Rix’s drum solo that was fit for a boisterous New Orleans “Second Line” parade. Appropriately, this heated jam ended with a spontaneous outburst of a warped version of “The Saints Go Marching In.”

In the final moments of this raw funk fest, The Brothers came full circle to revisit the glory of The Band, (the Brothers’ upcoming release will be a performance recorded at Levon Helm’s Barn) and lifted the 100 year-old roof of the Somerville Theatre with a soaring version of The Band’s “Ophelia”. At the apex of this reveling version, Rix took a turn in Levon’s honorary seat by singing the chorus at his drum kit while his two partners caroused around him with effusive harmonies and their entwining brotherly love.


If you would like to read more reviews like this one, visit Nelson’s blog at

Looking for the perfect gift for the music lover in your life? Nelson Brill has some suggestions!

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound.

In this blog, Brill offers some suggestions for the perfect gifts the audiophiles in your life would enjoy this holiday season.  


DECEMBER 3, 2016
Thinking about what your music maven/audiophile might like to find under her Christmas tree, Hanukkah bush or Kwanzaa candelabra? Here are some holiday gift suggestions from this year’s batch of audiophile quality recordings, equipment and accessories in heavy rotation here at bostonconcertreviews:


For the vinyl lover, it is always a great gift suggestion to head over to support your local record store and peruse its record bins for a long-lost LP to gift to that special music fan. Maybe you’ll find a copy of vibraphonist Milt Jackson’s 1957 swinging Plenty, Plenty, Soul [Atlantic] or mine the pearlesque voice of Shelby Lynne on her steaming Just A Little Lovin’ [UMG Recordings] or the meditative strings of sarod master Ustad Ali Akbar Khan on his 1966 recording Morning and Evening Ragas [on the spectacular Connoisseur Society Label).  Or maybe you’ll unearth an original pressing of the knockout self-titled album by Taj Mahal [Columbia Records] plying his bluesy “Built For Comfort” or that swinging bluesman (hailing from Woonsocket, Rhode Island), the sizzling Duke Robillard on his jazzy 1987 recording, Swing [Rounder Records;].


Duke Robillard – youtube.comIn your search, always keep an eye out for an LP with a white “promo” label or “radio sticker”  (a great find that usually promises the best sonics because such “promo” copies were culled from early pressings of any given LP).If you do not have a record store to support nearby, then heading to one of the specialty audiophile stores online can be another great gift resource. You’ll find tons of great LP titles at a site that carries many audiophile quality labels and titles. One such label you will find there is Audio Fidelity (“AF”;, a company that I have highlighted often in these pages for their reliably quiet LP surfaces and their special way with producing remasters of old classic rock albums  that always succeed in capturing the elusive (dynamic!) sparkle of original performances.


One of AF’s latest reissues is from the catalogue of singer/songwriter Jesse Colin Young, whose warm vibes (from his 70’s California roots) is a perfect uplift gift for this holiday season. AF’s re-mastering of Young’s 1973 classic, Song For Juli, is a cause for celebration. Its quiet surfaces contain many riches: the tactile nylon of Young’s burbling acoustic guitar (on his “Song For Juli”); the brass punches that carouse “Ridgetop” and “Country Home”; the playful deep bass and whip-sharp sax calls in the rollicking “Miss Hesitation” and the bluesy sway of Young’s version of the “T-Bone Shuffle” (that takes it all home with Young and his swanking band radiant and pumping). This superb AF LP captures Young and his band in all their creative flight: boisterous, contemplative and grooving. (Jesse Colin Young will play locally at the wonderful Narrows Center For The Arts in Fall River, MA. on March 4, 2017 – see


If your LP maven is a jazz lover, check into Newvelle Records (, another audiophile label that I have highlighted this year for its superb LPs and its unique business model that insures support for the artists through members-only  subscriptions. Now is the best time to purchase a membership at Newvelle’s website to gain access to their upcoming 2017 series of eclectic jazz performances recorded in intimate sessions at East Side Sound Studio in New York City. (You can also now purchase, while they are still available, the complete bundle of recordings from Newvelle’s 2016 season). I have been enjoying my latest Newvelle Records release entitled Quiet Revolution which captures all the intimacy and dynamism of a session with bassist Ben Allison, guitarist Ted Nash and saxophonist Steve Cardenas.



A listen to this band’s version of Jimmy Giuffre’s “Pony Express” and his “The Train and the River” delivers crackling and symbiotic music making with Cardenas swirling on his clarinet or sax; Nash moving creatively on his sheets of sparkling acoustic guitar and Allison folding it all together with his pungent and funky bass lines. A Newvelle Records’ membership is a great gift to pass along to any jazz fan who would relish exploring such one-of-a-kind jazz sessions like this gem, ensnared on quiet LP pressings and accompanied by original artwork and poetry that highlight the tactile and visual treats of the vinyl experience.

To keep all this great vinyl sounding its best, another simple and affordable gift idea is to purchase some new accessories to keep your pal’s records sounding their best.


The most reliable record cleaning brush that I have encountered is the Hunt E.D.A. Mark 6 brush (available locally at Goodwins’ High End Audio of Waltham, MA. (; or at online stores like All it takes is a few rotations with this brush to get records dust free and ready for stylus action. And, to clean that stylus after every record or two, the best stylus cleaner around is from Clearaudio, their “Diamond Cleaner” (also available locally at Goodwins’ or at online stores like Any of these accessories would make great stocking stuffers for the vinyl maven.


Turning attention to some CD’s for gift ideas, there is another yearly subscription gift idea that will surely send plenty of joy to those who love to rock n’ roll. A yearly subscription to “Dave’s Picks” (available at (which purchases four CD releases plus a special Bonus Disc) opens up uncharted worlds of the Grateful Dead (the “Greatest Band In The Land”-Bill Graham) in all their splendor – warts, curves and rousing glory intact. This past year’s subscription to Dave’s Picks delivered such delights as a roof-raising “Scarlet Begonias” into “Fire On The Mountain” from the second set of the Dead’s powerful performance at the University of Boulder on 12/9/81 (Dave’s Picks Volume 20) to the filigree light of “Eyes of The World” from their 7/17/76 show at the Orpheum Theatre in San Francisco (with Garcia’s voice young and earnest next to his lithe guitar) (Dave’s Picks Volume 18).


The crew behind Dave’sPicks deliver these new re-mastered recordings with a sonic immediacy and presence that invite the listener into the unfolding drama of the Dead’s 50 year journey- transporting us back to the thrill of those days when experimentation from chord to chord; from amp to amp; from ballad to soaring rock n’ roll was just another day at the splendid office for these roisters of musical glory.


And, speaking of glory, holiday gift-giving would not be complete without a listen to the glorious creation from Tchaikovsky, his Nutcracker Suite, brought to sparkling life on XRCD24 (compatible with all CD players) from Hi-Q Records (distributed by Elusive Disc – Hi-Q Records is one of my favorite audiophile labels for classical music because their re-mastering of classical performances deliver some of the most realistic orchestral colors, textures and volume/expanse of a real acoustic space that I have heard on CD.


Hi-Q’s release of the Nutcracker [Hi-Q Records #51] with conductor Efrem Kurtz and the Philharmonia Orchestra (as well as their re-mastering and release of Tchaikovsky’s Swan Lake[Hi-Q Records #49] with these same artists) are taken from the original master tapes of the performances recorded at Abbey Road Studios in the 1950’s. Although there is some background tape noise from these old master tapes, (and cymbal crashes that will knock you out of your seat lose a bit of their natural decay and shimmer), this is as close as CD gets to vinyl’s great virtues for tactile details and capturing the natural acoustics of a recording venue.

When the chorus softly caresses from the far reaches of the stage (while flutes flutter high), the magic of Tchaikovsky’s Nutcracker is revealed in all of its sparkling drama on this Hi-Q Record CD. Catch the dancing snowflakes (and the light tambourine at the rear of the stage) if you can!


If your holiday gifting is for someone who listens to their music primarily on a portable headphone system, then a great easy gift might be to purchase a new headphone cable to upgrade those favorite pair of “cans.” I have been thoroughly enjoying the immersive experience of listening to music through my pair of Sennheiser HD 650 headphones ( recently upgraded with a Heimdall2 headphone cable from Nordost (


Heimdall2 with Audeze LCD-3 headphones

Substituting the Heimdall2 cable for the Sennheiser stock headphone cable delivered a remarkable increase in all of the sonic areas that make headphone listening such an immersive experience: music crackled with new life and tactile details; vocals and instruments were more deeply layered and images were more solidly anchored in their natural acoustic space. You could more easily hear  to the rear walls of a given recording space on recordings that allowed for such ambient details to be explored. The Nordost Heimdall2 headphone cable is available from any Nordost dealership (see and can be easily configured to swap out any standard headphone cable with terminations compatible with any major player in the headphone market.

To feed that headphone system a steady diet of superb three dimensional sound, grab a few titles from the venerable audiophile label Chesky Records ( and their “Binaural+” series of recordings. The “Binaural+ Series” sessions were recording on high resolution 192-kHz/24-bit sound with a special “Binaural Head” (a model human head with specialty calibrated microphones where the ears would be). These remarkable “Binaural” recordings (produced in association with Professor Edgar Choueiri of Princeton University’s 3D Audio and Applied Acoustics Lab) bring the headphone immersive experience to another level of enjoyment with performances that jump out between your ears with thrilling realism.


One of my favorites from the Chesky Binaural+ Series is singer/songwriter/guitarist Melissa Menago’s Little Crimes [Chesky Binaural Series JD384; Menago is a young artist who delivers a gold mine of expressive songs on this superb recording, surrounded by the airy space of The Hirsch Center in Brooklyn, New York. Menago’s voice and guitar are expressive vehicles that deliver punchy verve (on her originals “If The Fire Goes Out;” “Airplane” and “Smoke Signs”) or bracing intimacy, such as on her dapper version of “Somewhere Over The Rainbow/Such Great Heights” or on her spritely “The Other Side of You”. The stellar imaging on this Chesky recording seats us right at the feet of Menago’s microphone and her voice and her tactile thumps of her guitar (or Keith Gill’s hand held percussion and shakers) are crisp and vital in the surrounding air. (The recording is so natural that at times, you can hear the rumble of a subway or what sounds like rain hitting the pavement outside the Hirsch Center in natural accompaniment to Menago’s spindly inflections). Menago takes us to another place, intimate and enveloping, in her stirring music. Her gorgeous slow rendition of Leonard Cohen’s stately and beautiful “Hallelujah” (the recently departed Cohen will be missed!) is delivered as a stark hymn by Menago: intense and powerful and glowing with Cohen’s contemplative mystery. A perfect “Hallelujah” to pass along in this holiday season.


If you would like to read more reviews like this one, visit Nelson’s blog at

Nelson Brill Reviews The Tanglewood 2016 Contemporary Music Festival

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound.

In this blog, Brill takes us to Tanglewood, where he recounts the performances from the 2016 Contemporary Music Festival.


AUGUST 4, 2016 

Hilary Scott

This photograph, taken on a starry night in July, 1953, hangs in the entrance hall of the majestic Highwood Manor House at the Boston Symphony Orchestra’s (“BSO”) bucolic summer home at the Tanglewood Music Center ( in Lenox, MA. It shows then-BSO conductor Charles Munch holding hands in salute with a broad-smiling young violinist (Isaac Stern) and BSO principal violinist Joseph Pasquale as they acknowledged ovations for their performance of a Mozart Concerti under the canopy of the famed Koussevitzky Shed at Tanglewood. The magic of the Tanglewood Music Center (“TMC”) is that one can view these old photographs, linger on the same leafy grounds where these musical legends gathered to perform, teach and be inspired and then listen to a concert performed by today’s young artists in vivacious continuity with these past masters – whose influence still flows through everything that happens here like the constant breeze that wafts through the TMC’s stately lawns and overarching pines.

Grab a sandwich at the old timey Loeb’s market in nearby Lenox, MA. (their roast beef with horseradish mayo is dynamite!) and then head through the Leonard Bernstein Gate to the pastoral greenery of the TMC. Its grounds are dotted with one-room rustic cabins where students in the TMC’s Fellowship Program practice their art. Only at Tanglewood might you hear (on the float of the light breeze) a sudden plunge of a trombone growl from the undergrowth or a soaring aria (melding with the tenor calls of accompanying song sparrows). Nearby is Seiji Ozawa Hall (opened in 1994), a performance space like no other.

With its rear wall removed to expose the meadows, Berkshire Mountains and sky beyond, sound in Ozawa Hall is ravishing and lustrous: quicksilver in delivery with a crisp and natural acoustic capturing voices and instrumental textures in unflinching detail.

Ozawa Hall has a camp hall feel, with its wooden vaulted high ceiling (composed of open sections for sound to penetrate), and irregular surfaces everywhere (including beautiful wrap-around wood latticework on its balconies) for a delivery of a lucid and glistening sound that has very little of that “golden glow” quality (as mentor Harry Pearson liked to describe it) heard in the acoustic space of its elder big brother- the incomparable Symphony Hall in Boston.

“Glistening” is a great word to describe not only the special quicksilver acoustic of Ozawa Hall but also to describe the blaze of new sounds and instrumental colors that were heard in concert at Ozawa Hall this past week during the TMC’s annual Festival of Contemporary Music (“Festival”). This year’s Festival held particular poignancy because its creator and curator, trailblazing composer and conductor Steven Stucky (who had been associated with Tanglewood and the Festival for many years), tragically passed away in February before he had the chance to attend this year’s Festival that he so cherished. However, (as is always the case at TMC) the loving continuity between this recently passed-on dynamic composer and the ear-tingling quality of new music heard at Ozawa Hall in this year’s Festival was palpable and inescapable.

In his own compositions, Stucky succeeded in combining vocal and instrumental music in fascinating and piquant combinations, always foraging for that contrasting, unpredictable crush of colors or portend silence in his pulsating works. Take a listen to his challenging and moving “music oratorio” (combining Stucky’s music with a libretto by Gene Scheer) entitledAugust 4, 1964 (from a 2012 CD recording with the Dallas Symphony and Chorus on the DSO’s own label).


In this concert drama, instrumental and vocal sounds lurch up against each other with force and radiance behind the soaring vocals depicting this painful day in American history when President Johnson signed the Gulf of Tonkin agreement (to shamefully escalate the war in Vietnam) and, (on this same day), denounce the infamy of the racist killings of civil rights workers Goodwin, Chaney and Schwerner in Mississippi by white supremacists. The recording, (made in the spacious Meyerson Symphony Center in Dallas, TX. with a balcony perspective on all of the dramatic action), is filled with wonderfully layered vocal performances combined with Stucky’s masterful play of instrumentation utilizing chasing woodwinds, blares of brass holds and the clash of huge bass drum hits with light chimes – all  combined into a searing, dramatic performance of this political moment.

This quality for inventive sounds, colors and rhythms found in Stucky’s own music could also be heard glistening from strings and percussive hits during the performances of new music encountered at this year’s Festival at Ozawa Hall. On Friday, July 22nd, several gifted young musicians from the TMC Fellows and the New Fromm Players performed music that challenged the ear and mind. In the U.S. premier of composer Joseph Phibbs’ (b. 1974) String Quartet No. 1, Jordan Koransky (violin) Natsuki Kumagai (violin II), Mary Ferrillo (viola) and Francesca McNeely (cello), danced together in a piece that was filled with moments of elegiac eloquence. The piece combined hymn-like string holds and whispers of light pizzicatos with deep strums of cello and viola (heard luminescent in Ozawa) that concluded with a swell of string crescendo and salute (like fiery embers thrown into a night sky). This same group also performed Hans Abrahamsen’s (b. 1952) String Quartet No. 3 with its last movement (“Molto Tranquillo”) where the players all placed mutes on their strings and created the eeriest, softest whispers of mysterious runs and cross-accents pushing and pulling against each other.

Soprano Sophia Burgos (with her regal powerful vocal presence) joined the group to perform Sebastian Currier’s (b. 1959) Deep Sky Objects and, (along with pinpoints of light from Max Grafe’s spikey electronic accents) the group made bold and diaphanous work of this ghostly, yearning piece. The performance concluded with Donnacha Dennehy’s (b.1970) wondrous piece One Hundred Goodbyes, where the four string players waxed and waned with beautiful shimmer and flow to Dennehy’s music set to the sounds of recordings made from 1928-1931 in Ireland by folk archivists and linguists. Both spoken word and song fragments moved in and out of an arresting forest of sounds: the first violin held a highest staccato note that was then caught and passed around furiously by the other players; carnival sounds erupted from a rush of strings in descending comic slides and finally, a furious burbling of string voices was created when the players held one note with quick agitation (using only the shortest part of their bows in quick fury) melding and swaying to the  archived voices from the past in a celebration of fluttering sounds and soaring colors.

To experience a slice of the sonic excitement, drama and restless exploration that was heard in these glowing performances at Ozawa Hall, take a listen to a gem of a new recording from the Boston Modern Orchestra Project, “BMOP”, (an orchestra in the vanguard of exploring the music of our time led by their intrepid artistic director Gil Rose) in a performance of the music of  composer Mason Bates (b. 1977) recorded at New England Conservatory’s ( glorious Jordan Hall in Boston.


Entitled Mothership [on the BMOP Sound label), this 2015 recording is astonishing in its landscape of sounds and colors; the virtuosity of its musicianship and in its delivery of the grandeur of Bates’ creative vision. The sweep of shape-shifting instrumental colors in Bates’ music is stunningly beautiful. Every electronic pizzazz, percussive swipe or clamoring string run is captured on this SACD recording (compatible with CD as well) in a beautiful layered soundstage of impressive presence and tactile vitality. Bates’ “Desert Transport” ebbs and flows on carousing strings with seesawing woodwinds and holds of deep brass, all alive in great swarming action. Chimes ring out clear and pelting, pushing the final horn blasts in majestic force. Likewise, Mothership brews with pounding electronic bass and cross hatches of brass and woodwinds, with FM Rhodes (played with frolic by NEC’s own Jason Moran) and the lyrical suppleness from Su Chang’s resonant guzheng (an ancient Chinese stringed instrument resembling a zither), adding dapper and soulful conversation. Bates’ “Attack Decay Sustain Release” is a soaring opening salvo of crisp bells, propulsive strings, woodwinds and horns cascading and whirling. The sparkling and wide-ranging virtuosity of the BMOP is eloquently put to the test on Bates’ “Rusty Air in Carolina”, in which a panoply of electronica, percussive ingenuity (to portray locusts flying on the wind) and orchestral colors are brought to bear to ignite a rollicking composition of skittish delights and pensive moments – all shifting and evolving as it sweeps along into new frontiers of sound and color. Playing this recording on a quality audio system is like having a front row seat to the Red Sox on opening day at Fenway: where youthful expectations and dreams of championships have no limit or boundary. Listening to the music of Bates or Stucky or those composers featured at the TMC Festival breaks every expectation and genre mold- boundless and bracing.

TANGLEWOOD UPDATE: This August is a great time to get thee to Tanglewood with performances ranging from a special evening to hear violinist Gil Shaham performing J.S. Bach Sonatas in the intimacy of Ozawa Hall to witnessing the grandeur of Verdi’s Aida Acts 1 and 2performed by the BSO and a host of great vocalists joined by the Tanglewood Festival Chorus. For the full schedule at Tanglewood for the remainder of the 2016 summer season, see More reports from Tanglewood to come!

Hilary Scott: John Williams conducting the Boston Pops at Tanglewood On Parade 2016

Hilary Scott: John Williams conducting the Boston Pops at Tanglewood On Parade 2016



If you would like to read more reviews like this one, visit Nelson’s blog at


Nelson Brill Reviews Charlie Musselwhite and Walter Trout

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound.

In this blog, Brill gets a bit bluesy as he recounts the past two concerts he enjoyed at local concert hall, The Narrows, in Fall River, MA.


By Nelson Brill

APRIL 24, 2016

The late great B.B. King (no doubt still cradling his beloved guitar Lucille in some heavenly nightclub) would have been mighty proud of two recent concerts by two master slingers of the genre – harmonica and vocalist Charlie Musselwhite and guitarist and vocalist Walter Trout- as each delivered superb shows before sold-out audiences at The Narrows Center For The Arts (the “Narrows”) in Fall River, MA.


The Narrows is a little gem of a concert venue worth checking out for live music. It boasts consistently great lineups (see and a heartfelt community spirit. Its large space (located on the third floor of a former mill building overlooking Mt. Hope Bay) delivers great sound where vocals and instruments are heard with an alive and tactile quality while low bass and drum hits are resonant and full in its cavernous space. The volunteers who have run the Narrows since 1995 are music lovers who clearly adore their audiences. On April 15th, many of them gathered on stage to toast to the glory of the Narrow’s hosting of its 1,500th show (with plastic cups passed around to the audience for a rousing toast of champagne).


And, speaking of “glory,” it’s a term that also best describes the raw delivery of heat, passion and grit that blues legend Charlie Musslewhite brings to his rollicking blues night after night. For a treat, take a listen to Musselwhite in his earlier performing years, joined by a brash big band on his 1978 recording Times Getting’ Tougher Than Tough [Crystal Clear Records]. This record will demonstrate the magic of vinyl: lighting up your listening room with a capacious and tactile soundstage in which Musselwhite and his cohorts serve up jump blues on a big, bold and soulful platter.


At his Narrows show held on March 11th, Musslewhite arrived serenely, chatted with audience members and then pulled out his traveling suitcase (covered with Hells Angels and Clarksdale, MS. stickers) containing his assortment of harmonicas. Slowly and deftly, he pulled out the first chosen harmonica and began to wail on it, sounding like a propulsive steam locomotive pulling out of a station. After this first throb of harp, his young band (consisting of Matt Stubbs on guitar, June Core on drums and Steve Froberg on bass) hit the road running with their attack of roadhouse bluster that rambled into the high octane tune, “Long, Lean, Lanky Mama” taken from Musselwhite’s recently released live recording, I Ain’t Lying [CD Baby;].


The show highlighted the deft chemistry between the legendary Musselwhite and his gifted young partners. Stubbs displayed swashbuckling guitar energy all night, combining smooth melodic rolls with biting string bends. On the tune “300 Miles”, (also from I Ain’t Lying), he and Musslewhite combined for a duet that stretched out to the horizon with Musslewhite’s cavorting harp calls and Stubbs utilizing a reverb sound on his guitar to create a hollow sound (to his heated holds and blistering runs) that brought the capacity crowd to its feet.


Marilyn Stringer

Another highlight was the band’s brash rendition of the Elmore James number, “Done Somebody Wrong,” in which Musslewhite moved from the lowest registers of his harp to its highest pinched peaks. Stubbs obliged by taking an ardent guitar solo built upon repeated phrases and a rhythm guitar swagger – all ending in a huge crescendo of jagged chords and distortion. All of this great drama was propelled by the dynamic attack of bass and drums as Core and Froberg held down a tenacious boogie foundation underneath.

Musslewhite and his young compatriots not only brought swagger and sway, but they also could bring forth the tender and the breezy as well. These tunes highlighted how Musslewhite’s vocals still possess, (after many years of his performances on the road), an ardent and expressive quality. On the breezy sway and country feel of “Long Legged Woman,” Musselwhite’s vocals went deep and searching in duet with his harp as he brushed his lips softly against its shiny surface and breathed languidly to create a gentle wisp of soaring sounds.


This same shimmy and breeze continued into a wild ride on “My Kinda Gal” (also taken from I Ain’t Lyin) that had Core furiously plying his wood rims. Against this clamor of wood hits, Musslewhite’s crisp harp dueled with Froberg’s bass in a slippery groove. The crowd stood and urged on this duel of two musicians at play (in the fields of the blues) until the last piquant squeal was sent soaring from Musselwhite’s expressive harp.


A few weeks later, on April 15th, another master (this time of the Telecaster) took to the stage at the Narrows and (before an ecstatic sold-out audience) delivered a concert of such protean magnitude that there was no doubt that he remains one of the most fiery, expressive and dynamic blues guitarists on the planet today. Walter Trout is a miracle: he has survived near-death from liver disease (he was only saved by an anonymous gift of a liver transplant after waiting seven months in a hospital – he urged everyone at his concert to register as organ donors at and his guitar artistry is as hard-won, genuine and rocking as you will ever hear.


I believe his tour de force is his 2013 tribute recording to another Master of the Blues, Luther Allison, entitled Luther’s Blues [Provogue Records;]. This is a seminal recording and a masterpiece, from its blazing guitar rifts to its stunning emotional delivery. Trout takes inspiration from Luther Allison’s own genius (heard on such rocking and raw vinyl releases as Allison’s 1969 album, Love Me Mama on the legendary Chicago Delmark label)  and soars into blues and rock heaven on every cut.


Just take a listen to “When Luther Played The Blues” or “Low Down and Dirty” (with Luther’s brother, Bernard Allison on spidery slide guitar) and you will be transported to a world of pure heartfelt soulfulness where Trout’s guitar and voice meld into one perfectly dignified blues rocker of volcanic power. Luther’s Blues is a recording for the ages and a must have for anyone’s vinyl or CD collection struck with the glorious blues fever.

At his April 15th show at the Narrows, Trout brought all of the volcanic power that he displays on Luther’s Blues to deliver a magnificent molten performance. Accompanied by his ardent trio (Michael Leisure on drums, Johnny Griparic on bass and Sammy Avila on Hammond B-3- aided at times by his two sons on guitar and vocals), Trout ripped into Allison’s “I’m Back” (a great salute to his own recovery) and “Move From The Hood” with a passion that was tenacious. He hit the stage pounding on his guitar, with his MESA/Boogie amplifier turned up to bone-rattling volume, pelting unfurled curls of high notes in blasting fun. There was simply no stopping Trout and the creative kinetically charged heat radiating from his guitar all night long.


Trout sang with glee and fervor, his vocals gritty and soulful. His intense high calls on Allison’s “Cherry Red Wine” or the classic “Rock Me Baby” mixed with his resolute treble guitar holds in a full throttle assault that sent the capacity crowd into a frenzy of applause. He also ensnared slow blues in a dazzling display of creativity and soul. On Allison’s “Big City” his slow guitar work was ferocious and poignant. This searing indictment of poverty, racism and police violence took on a huge swath of energy in Trout’s Hendrix-like spread of long held guitar chords and big voluminous holds that spanned everything from violent shrieks to soulful wails. On another slow gem, “Cold, Cold, Ground” (taken from Trout’s latest release Battle Scars[Provogue Records], Trout focused his intoxicating guitar on two piercing repeating notes – one high and one low – seesawing between them to develop a combination of guitar sting and sway that was a consummate synthesis of hot and cold in this slow brewing ramble.

Trout’s companions also picked up on this glorious and ferocious energy and partnered with Trout step by step through the gnash and grit of his wondrous rocking world. Michael Leisure on the drum kit was a powerful presence throughout, marking his time with punctual huge cymbal and snare hits and waiting to erupt on his drum solos (when given the moment’s opportunity) with a locomotive piston-like ferociousness.


Sammy Avila’s B-3 added beautiful sheets of color with his long held burbling organ chords interwoven with Trout’s riveting solos. On a tune announced by Trout to be simply an “A-minor blues tune” Avila took off on a scampering organ solo hurling out notes at a breakneck speed with big flourishes of pungent organ holds.



If there was a pinnacle highlight of the night, it had to be Trout and his band’s tribute to B.B. King entitled “Say Goodbye To The King.” Before launching into this piece, Trout recounted how he had met King in a chance encounter at a store in New Jersey where Trout was working as a young man. As a result of this long conversation with King at this early time in his career, Trout was inspired to perfect his craft. In playing this tribute to the King at the Narrows, Trout wore his heart on his (guitar) sleeve. He commenced the piece as a slow brewing ballad with soft caresses in his guitar’s highest registers (next to the shifting lines of Johnny Griparic’s expressive bass). From this epicenter of low dusky vocals and slowly twisting guitar lines, Trout built to a crescendo of mammoth design with scorching high guitar notes and huge major chords held in a fury of positive energy (until the last note and drum whack was punctuated). In the end, Trout’s expression on his face showed that he was clearly overwhelmed with emotion in this final moment as he basked in the glow of his mentor’s inspiration and in the simple joy of being alive playing the blues he loves.


If you would like to read more reviews like this one, visit Nelson’s blog at

Nelson Brill Reviews live Americana

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound.

After a trip to India, Brill is searching for some live music steeped in Americana, which he finds at the Regattabar in Cambridge, MA. 



Returning to this side of the globe from an astonishing trip to India. Music fills the air in India everywhere you go: from the ringing bells announcing the hundreds of worshipers to Hindu Temples in Jaipur every Wednesday to celebrate the Elephant God Ganesh’s birthday; to the chants and drums of Sikhs worshiping at their Golden Temple in Amritsar; to the blasts of horns leading daily processions through the streets of the desert towns of Bikaner, with camels and cows striding forth in their slow gait rhythms.


Upon return from this glorious adventure, I yearned for a dose of true grit and gusto from some Americana roots music and so landed at the Regattabar ( in Cambridge, MA. last week for some swing and sway from a foursome of illustrious Vermonters who pulled into Beantown for this sold-out show: Jamie Masefield on mandolin (he of the Jazz Mandolin Project); virtuoso Doug Perkins on acoustic and electric guitar; Jon Fishman on drums (he of Phish and Jazz Mandolin Project rhythm devil fame) and the puckish young Vermonter Tyler Bolles on upright bass.

The Regattabar’s intimate confines were packed and the band immediately latched onto the heat and enthusiasm of the adoring crowd and tore into a medley of rambunctious acoustic string action.

Perkin’s “Hang Glide” ripped through the air with Masefield carousing on his crisp mandolin solo in partnership with Perkin’s soft and fleet guitar swipes. A great rollicking bass solo from Bolles also entered the fray with huge isolated plucks that rattled and shook the walls of the R-Bar (picking up a little tin fuzz from Fishman’s nearby snare as well). Perkins is one gifted guitar player, as well as a bold and adventurous songwriter.

The band featured several of Perkins’ compositions ranging from a lilting ballad, “Jill’s Waltz” (taken from his 2012 solo album, Music For Flat Top Guitar, [Thunder Road Records] to a happy-go-lucky “Troll Party,” steaming up with Perkins’ loose and free electric guitar work, all expansive and punchy.

From these delectable original creations, the band also swerved into traditional bluegrass territory serving up steaming hot medleys built around slap-happy railroad songs (“Reuben’s Train”); gospel soars (“Working On A Building”) and barn-burning licks (“Cattle In The Cane”). Each number brought its own glittering rewards: Perkins and Masefield trading high velocity solos; Bolles pumping his bass in deep and rich tremors and that little dynamo, Fishman, creating a churning engine of percussive sounds on his drum kit with a pair of light brushes as his vehicle. Those brushes (which Fishman utilized for the entire concert) lit up everything from a soft purring Rumba beat to a headlong boil of snare, tom and bass drum swagger.

From bluegrass to jazz and the blues, these four consummate musicians spread their wings and even tackled a little-known chestnut from Victor Young (who composed for Hollywood back in the 1930’s) entitled “Golden Earrings.” This number swept the audience off our feet with a version sounding like a sumptuous blend of Django Reinhardt swing combined with a Latin pulse – full of soft passion on Masefield’s opening mandolin solo (in which he took his time to deliberately pluck each note for its harmonic resonance).

Here was a band in joyous flight: moving like a butterfly lightly from flower to flower with sparkling mandolin and guitar phrases that swooped and combined in unfolding, spontaneous and beautiful ways. This is a band to watch and relish as they evolve further in their infectious, beguiling musical comradeship.



There’s another guy to keep an eye on in the swirling pot of great Americana roots scene creators, judging by his new full throttled recording. This is the singular new voice of Charlie Parr, ranging and raging through old blues, murder ballads and Spider John Koerner inspired originals in his 2015 release, Stumpjumper [Red House].

Here is a string master and songwriter at the height of his powers offering songs that stick in your gut and your head, so much so that you may find yourself rolling over a lyric or two in your daydreaming moments or deep in the night. Joined by Emily Parr on vocals, Phil Cook on guitar and banjo, Ryan Gustafson on electric bass and fiddle and James Wallace on drums, Parr works his expressive music into a pounding, hypnotic brew. From the opening jostle of “Evil Companion” (with its crashing velocity of guitar strums, bass and drum thumps surging next to Parr’s feisty vocals) to the following gospel creaking number, “Empty Out Your Pockets” (with its spare banjo and electric twists), Parr is clearly on to something powerful. His voice is a perfect foil for all of this exuberant, irreverent action: craggy, gnarly, (thin as a reed) and full of raw vitality. The recording quality is not audiophile by any means, with compressed thinness and a small soundstage, but somehow this recording made at a farmhouse in North Carolina seeps into the mind and stays there, like a woodpecker burrowing into an old tree.

Parr’s artistry ranges from his feisty originals about humans scurrying, hording and celebrating to survive:  the round and round musical feast of “Falcon” (“when I pass by, Lord, please cover up my tracks”) to the title number, (a whirlwind of propulsive congestion, vocal soars and machine gun guitar brilliance). Parr also delivers lovely musings in soft, spinning ballads about family connections, memories and the passage of time. These include the beautiful, unfolding “Over The Red Cedar” (with Emily Parr’s soft harmonies perched next to Parr’s radiant vocal inflections and unflinching, circular guitar patterns) to the lovely “Remember Me If I Forget” with its chirp of light banjo and guitar, (with a pounding foot pedal on wooden floorboards keeping the airy song from launching into the air).

Parr follows with the soulful and spirited push of his “Temperance River Blues” – an original that floats on the virtuosity of Parr’s lyrics and arresting images – all caressed in his surging vocal and guitar wake. The album ends with Parr taking the great murder ballad, “Delia”, (made famous by the master rogue David Bromberg) and spins this tale in his own web of light guitar intrigue and vocal explorations. Parr is the real deal: a rover of Americana with nervy urgency and a virtuoso’s eye for the prickly facets of life.

Morning on the River Ganges at Varanasi


If you would like to read more reviews like this one, visit Nelson’s blog at

Nelson Brill Reviews Live Performances in Boston

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound.

In this article, Nelson beautifully describes several performances around Boston including Richard Lemvo, Cecile McLorin Salvant, Fred Hersch, and Eleanor McEvoy. We are so glad that Nelson was at The Burren to witness McEvoy in action. We have been enjoying Eleanor’s music for years and were very excited that she chose to use Nordost’s new Pro Audio Cables, Ax Angel, on her most recent tour in the US.


The world came to Boston recently in a series of stellar concerts that swiveled the hips and transfixed the mind.


First up was the glittering show put on by Ricardo Lemvo and his Makina Loca Band on a mid-September evening at a packed Johnny D’s in Somerville, MA., as part of World Music/CRASHarts music series ( The minute Lemvo and his band hit their first soaring notes, the dance floor was buzzing with crowded bodies swaying to the Angolan, Cuban street party sounds. Lemvo, who was born in the Democratic Republic of the Congo with Angolan family roots, is a vocalist who is unstoppable: his deep vocal delivery possesses a great mixture of ardor, smoothness and prankish fun. His voice is a perfect vessel to bring the kinetic grooves of this music to flight, with everything from salsa swing, Congolese rumba and Cuban son pelting forth in joyous abandon. The musicians joining Lemvo were all sensational, including sterling solos by Stephen “Mofongo” Giraldo on his soaring trumpet, and stinging, lilting guitar work from Huit “Wee Kilo” Kilos. Trombonist John Roberts was full of brawn and might, joining Papo Rodriguez in his percussive flights as they both punctuated Lemvo’s swaying vocals. After more than two hours of whirl and sweat, the band reluctantly left the stage at closing time to the ecstatic ovations from the effusive crowd.

To get a taste of Lemvo and Makina Loca’s glorious creative stew, grab a copy of their 1998 recording entitled Mambo Yo Yo [Putumayo;] or their 2004 recording, Ay Valeria! [Mopiato Music] and wallow in the beautiful sway.



As a recording, Ay Valeria has a fuller sound (and a richer tonal palette to its brass and percussion sections) and Lemvo’s radiant voice is better integrated into a larger and deeper soundstage than found on the earlier Mambo Yo Yorecording, which, although rich in its own musical might, sounds a bit thin in the highs and less dynamic overall. Both recordings raise the roof off these life-affirming rhythms and grooves that Lemvo and Makina Loca have impeccably fused into their own dazzling dance party.

Down the street from the dance party at Johnny D’s lies The Burren, ( a rollicking little Irish pub with an intimate “Backroom” where, on October 10th, another slice of global grooves was taking shape. At this concert, Irish singer/songwriter Eleanor McEvoy brought her impeccable and searching touch to a song mix both “borrowed and blue” (the title of one of her originals on her 2008 frisky gem of a recording, Love Must Be Tough[Diverse Records;].


McEvoy held the audience at The Burren in the palm of her hand as she combined crisp guitar hooks with smart, sharply attentive vocals. In her eclectic mix, McEvoy addressed child sex abuse perpetrated by the Catholic Church; corruption in Irish politics and the highways and byways of love gained and lost. She effortlessly brought together influences as far afield as the glowing poetry of the Irish writer, Thomas Moore (1779-1852) to the lilting lyrics of the Beach Boys in her version of their classic, “God Only Knows” (which McEvoy delivered in spare and lucid vocals sitting at her keyboard). McEvoy’s guitar sound was dynamic, punctual and percussive, and she announced that for this concert she was utilizing a new instrument cable, (called an “Axe Angel”) manufactured by local high end audio cable company, Nordost ( a company that has supported independent artists like McEvoy for many years. That dynamic and searing guitar sound shone best on McEvoy’s rocking and sassy side: particularly galvanizing on McEvoy’s knife-sharp version of P.F. Sloan’s 1965 protest song, “Eve of Destruction.” Her encore, (to the delight of the capacity crowd), was Dylan’s “I’ll Be Your Baby Tonight” with McEvoy inhabiting her version with pulsing guitar grooves and her expressive vocal touches, lucid and flowing in crisp and dynamic ways.

Speaking of vocal dynamos, the fabulous and venturesome vocalist Cecile McLorin Salvant (whose debut recording, WomanChild [Mack Avenue Records;] has been reviewed here as one of the finest vocal albums of recent memory, [with one of my favorite drummers, Herlin Riley, driving the percussive train]), put on a glorious show at a packed Scullers Jazz Club ( in Cambridge, MA. on October 2nd.  Salvant was joined by her swinging, brilliant compatriots: bassist Paul Sikivie, pianist Aaron Diehl and drummer Lawrence Leathers. The show commenced with Sikivie’s roving solo bass digging deep and pungent (Sikivie was a coiled marvel on his bass all evening) with Salvant eventually joining him in a careening version of “Lonely Town.”

From this brisk blast-off, Salvant and Sikivie were joined by Diehl and Leathers in what Salvant announced was her survey of “Infidelity.” This delicious foray into darkness included a delicate (then devastating) version of “Guess Who I Saw Today” (made famous by singer Nancy Wilson) with Salvant commencing the ditty with her beautiful simple talking, (up and down her fluid register) and then ending this tale of subterfuge with a volcanic intensity of deep vocal holds and powerful, glowing growls. Take a listen to Salvant’s fierce “Growlin’ Dan” from her latest album, For One To Love [Mack Avenue Records; for a taste of this same emotional intensity combining spoken word, leaping vocals and earthy growls to ensnare the emotional core of a song.

“Guess Who I Saw Today” was followed by a totally different artistic flight of fancy: Cole Porter’s “Most Gentlemen Don’t Like Love,” swung with sass and roving action, with Salvant humming along and then hanging on one bladelike high note while Leathers cracked fiercely on his wood rims and Diehl sprayed delicate, light runs on his piano.

The global reach of Salvant’s artistry extends to singing in French, and at her Scullers show, this included a brewing, intoxicating version of a 1932 song from Josephine Baker entitled, “Si J’Etais Blanche”(“If I Were White”). On this song, Salvant inhabited the shoes of a young black girl coming to understand her own beauty in a white world with an eloquent delicacy to her vocals-playful and coiled- accompanied by Diehl and his fastidious piano touches. Salvant has the uncanny ability to alight perfectly on any level of her vast and fluid vocal range, (like a songbird alighting on branches in the wind) to drive home the emotional power and core of the songs she offers as unfolding gifts.

Towards the end of their performance, Salvant announced that she and the band were “making their way slowly back into the light” (from their dark theme of infidelity). The highlight of this surge back into optimistic territory was their glorious version of Bernstein and Sondheim’s optimistic leap of faith in their “Something’s Coming” (from West Side Story). Here was a locomotive free-for-all, with Salvant and her band in perfect flight. Take a listen to “Something’s Coming” performed on Salvant’s latest and superbly recorded album, For One I Love, and you will hear a slice of the magic that was heard at Scullers this evening.


Sikivie’s soulful bass commences the action, with Leathers and Diehl prowling along in their own creative ways. Salvant then enters singing deep and soulful and the momentum builds to a crescendo of sounds and colors.  Salvant’s vocal buoyancy and Diehl’s velvet dapper chatter on piano lead the festive outpouring. Salvant’s final long-held high vocal note casts a beautiful spell over the last tumultuous down pouring of drum, piano and bass colors – drenching with its joyful expanse and power. This is a singer and band at the top of their game and there is nothing that is beyond their collective, dazzling reach.

This recent concert glimpse tour ends at the stages of two of our venerable Boston music schools: Berklee College of Music (“Berklee”) and The New England Conservatory (“NEC).

Berklee is teeming with student recitals that offer the reward of hearing talented young musicians just waiting to be discovered. (Check out the weekly schedule at  At Berklee’s recent “Guitar Night” (held on October 27th  at the Berklee Performance Center), there were a number of young musicians to discover, including freshman Sean Jordan on his searing blues guitar (performing a blistering version of “Crosscut Saw”) and a sprawling, colorful set from Venezuelan composer and Quatro player, Carlos Capacho. The Quatro is an electrified version of a traditional Venezuelan four stringed instrument, resembling a ukulele, and Capacho joined his large ensemble to burst forth with plucky, tensile sounds (including bright soars from Italian trumpeter, Cosimo Boni).

The highlight of this evening’s excellent performances, however, had to be the short set by young Canadian jazz guitarist Andrew Marzotto and his trio: Jongkuk Kim (from Korea) on drums and Mats Sandahl (from Sweden) on bass. Marzotto displayed a fluid touch on his guitar that was fantastic, and he improvised with a sense of melodic freedom, rhythmic feel and choice of chords and colors that was astonishing. Marzotto is primed for the big time and he is definitely a guitarist to keep an eye on. His band mates were sensational as well: Kim is a young master of creating decaying sheets of sound from his creative cymbal and snare work and the lanky Sandahl knows how to quietly move underneath the flow of his partners to keep the propulsion going.


For more great jazz guitar work, (reminding me a bit of Marzotto’s inventive blend of jazz, blues and rock inspirations), check out the latest release entitledDuets [Mack Avenue Records] from guitarists Stanley Jordan (on electric guitar and piano) and Kevin Eubanks (on acoustic, bass and electric guitars and piano). From the meditative “Morning Sun” to the twisting beauty of “Vibes” and “Nature Boy” to the rollicking “Old School Jam”, these two masters communicate as One, on a recording with stellar dynamic presence and tactile feel.

Finally, nothing could be more magical than a night spent at NEC’s magnificent Jordan Hall celebrating the 60th birthday of one of today’s most celebrated and treasured pianists, Fred Hersch, as he sent a valentine our way with a free solo concert performed at his alma mater on October 29th. Here the global reach of music came full circle in the softly expansive and unbounded freedom of Hersch’s creative touches. He started with Brazil: a romp on a Jobim theme that plummeted and grooved with a chug that was irresistible. He then launched into an Americana journey: taking the sweet whisper from his original composition dedicated to his mother entitled “West Virginia Rose” (which can be found on Hersch’s latest glowing release, Floating [Palmetto Records] with his synergetic partners John Hebert on bass and Eric McPherson on drums) and weaving that sweet theme into the light piano boogie propelling another Hersch composition, “Down Home” (dedicated to Bill Frisell and heard on Hersch’s stellar 2011 Alone At The Vanguard release [Palmetto Records].


The crowd in Jordan Hall sat transfixed as Hersch swept us off on a journey through his own childhood musical memories bookended by his renditions of a tune by Lennon and McCartney and Joni Mitchell’s “Both Sides Now.” Everything in these glorious pop tunes lay fresh and open for discovery in Hersch’s hands. Mitchell’s simple melody expanded and contracted on Hersch’s creative left hand bass holds and his leaping high runs. Those velvety high runs were so airy and gorgeous when heard in the expanse and deep silence of Jordan Hall and every now and then, (especially on the meditative tranquility of his selection from his opus, “Leaves of Grass” (performed several years ago with the NEC Jazz Orchestra), Hersch would linger to the very last key up top, to softly caress it and then begin his winding journey again. Hersch’s final gifts to us this evening were a spirited romp to his mentor at NEC, keyboard soloist extraordinaire Jaki Byard (in which Hersch outstretched his arms from one end of his Steinway to the other in funky, stride piano glory) and in his meltingly beautiful encore: his original composition “Valentine,” that wrapped up serenity, peace and a sense of home all in one final soft piano flourish.

If you would like to read more reviews like this one, visit Nelson’s blog at

Nelson Brill reviews the AI Jazz Orchestra

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound.

In this article, Nelson describes the two most recent performances of the AI Jazz Orchestra at the Lilypad in Cambridge, MA and the David Friend Recital Hall at Berklee College of Music.


By Nelson Brill

Big band jazz is alive and well in Boston. One of its leading creative forces is Ayn Inserto and her Jazz Orchestra (“AI Jazz Orchestra”) who performed two shows before capacity audiences in the intimate confines of the Lilypad in Cambridge, MA. ( in June and at the David Friend Recital Hall at Berklee College of Music (“Berklee” on September 14, 2015. Inserto, Associate Professor of Jazz Composition at Berklee, is a composer and bandleader who clearly relishes working with the rhythmic freedom and expansive instrumental textures and colors that come with composing for a large ensemble. Her compositions embody an intense electricity. Music flows in unpredictable dynamic ways where seesawing instrumental lines and colors weave, mesh and interlock, supported by surging grooves and leaping whimsical rhythms. In live performance, her compositions are intricate sound puzzles that are unlocked and mined for their virtuosity (and structural beauty) by the superb musicians of her Jazz Orchestra, many of whom also serve on the faculty of Berklee. The AI Jazz Orchestra can deliver Inserto’s huge crescendos with glee (and volcanic power) or, (in a blink of an eye), can send one of her unpredictable melodic lines soaring on the soft caress of a brush stroke or a trombone’s plunge.

The AI Jazz Orchestra’s recent performances at the Lilypad and at Berklee were studded with great solo and collective moments- delighting at every twist and turn. One of my favorite Inserto compositions is “Snow Place Like Home” and this piece opened the Berklee recital with cavorting swagger. Inserto talks about being inspired by the 80’s pop she grew up with, and “Snow” captures some of this driving, restless feel. Here is a pell-mell rhythmic feast, with staccato stops and starts and big brass blasts in unpredictable moments. All of this cavorting action showcased the percussive humming engine of drummer Austin McMahon, who impresses with his porous light touch that fills every rhythmic nook and cranny. “Snow” also highlighted the swashbuckling sax work by Allan Chase and Mark Zaleski who challenged each other with a steeplechase frolic up and down their instruments’ registers, fierce and flowing.

The piece ended in a whoosh of furious brass explosions with lead trumpeter Jeff Claassen (also a composer of intrigue) swashbuckling up high with his other partners. It all sounded like a powerful, unpredictable rainstorm where each droplet of sound hits the ground in irregular patterns, drenching the listener in combinations of fresh sounds and a wash of restless instrumental colors.

Bob Brookmeyer-Youtube

Another highlight from the Inserto treasure chest is her original composition entitled “Ze Teach and Me,” Inserto’s tribute to her mentor, the great trombonist and composer Bob Brookmeyer (who taught at The New England Conservatory before his death in 2011). Inserto presented this piece at both the Lillypad and the Berklee recitals and its two-movement construction is a thing of beauty. The first movement is filled with soaring optimism in the rising holds of trumpets and trombones, with a softly penetrating solo from trombonist Randy Pingrey. The second movement is completely different: a whirligig of frenetic cross currents of sounds and colors across the big ensemble’s sprawling palette.


At the Berklee show, this second section of “Ze Teach and Me” was highlighted by two trumpeters: guest trumpeter Sean Jones (Chair of the Berklee Brass Department in possession of the most majestic, light and articulate tone on his trumpet you can imagine) and Dan Rosenthal, a trumpeter sporting his own brand of mercurial fierceness on his instrument. These two trumpeters engaged in a funky and galloping duet, trading licks and sassy, high holds. The superb rhythm section of Jason Yeager on piano, Sean Farias on bass, Eric Hofbauer on guitar and Austin McMahon on drums kept the (always shifting and creative Brookmeyer-inspired) grooves and foundation in focus until Inserto brought up both her hands to gesture a final cloud burst of brass and woodwind thunder. After this sudden eruption, a quick dash of piano notes and soft drum roll and the piece was over- another surprising twist in this flight of fancy from Inserto, inspired by her mentor, Bob Brookmeyer.


A 2008 recording of Inserto with her AI Jazz Orchestra, Muse [Creative Nation Music], offers a great slice of the magic of this group in live performance and features many of the musicians heard strutting forth in glory at the recent Lilypad and Berklee recitals. Although the quality of the recording sometimes compresses the full body of instruments, (such as the piano and some of the most volcanic surges of the orchestra), it still captures nicely the sprawling sounds of this ensemble with good layering and an up-front presence. McMahon’s light drumming is delivered beautifully through out (listen to his cymbal/snare prancing on “Eshel Sketch” or “Dear John”) and the recording delivers the propulsive soprano and tenor sax playing of Boston’s stellar saxophonist, George Garzone, a special guest on this outing.


Muse delivers a raucous version of “Snow Place Like Home” (with a blazing solo by Garzone, this time tangling with Alan Chase in muscular duet). Inserto also displays her contemplative side on Muse, highlighted by her glowing tribute to another unflinching explorer: composer and saxophonist Steve Lacy, (who also made Boston his home for many years before his death). She calls her tribute “Laced With Love” and at the AI Jazz Orchestra’s Berklee recital, this piece featured Sean Jones soloing with a velvet touch to his highest trumpet notes- at one point squeezing up top for the barest nub of sound (in soft pierces) on his eloquent trumpet. On Muse, “Laced With Love” is equally transfixing with solo work by Garzone on his soprano sax. Muse concludes with “Simple”, a swinging feast of big band full throttle that buoyantly strides out the door with Garzone joyously leading the way.


For further explorations into the musical genius of Inserto’s mentor, the mold-breaking composer Brookmeyer, grab a copy of OverTime – The Music of Bob Brookmeyer [Planet Arts] performed by The Vanguard Jazz Orchestra (“VJO”).


Here is an audiophile quality recording of a big band with all of its glorious dynamics and energy fully recreated, on a layered and deep soundstage with great image dimensionality. The VJO was first established by Thad Jones and Mel Lewis ( and became the vehicle for many of Brookmeyer’s later compositional experiments and performances.

The musicianship displayed by the current members of the VJO is extraordinary on this recording and the music they perform is challenging, prickly and not for the faint of heart. It swerves from the carnival atmosphere of Brookmeyer’s “Big Time” (with pianist Jim McNeely sparkling next to flights of scurrying saxophones and horns) to “At The Corner of Ralph and Gary.” This latter tune highlights Brookmeyer’s great talent for writing Big Swing with many a challenging twist and turn (including a baritone sax solo by Gary Smulyan in which he cavorts with tenor saxophonist Ralph Lalama in a swirling, off-kilter maze of sounds and metric changes).


So does “Suite For Three” (written for three members of the VJO) in which Brookmeyer explores the rich vocabulary of Dick Oatts on alto saxophone, Scott Wendholt on fugelhorn and Rich Perry on tenor saxophone. In these three separate movements,  Brookmeyer ingeniously weaves instrumental voices both penetrating and softly melodic (Wendholt), with soulful, full-throttle big band locomotion (Oatts and Perry). Brookmeyer’s music, like his protégé Inserto’s, is knotty and elegant, soulful and twitchy. It’s a sprawling challenge for the ears worth taking, and in the hands of the VJO, it sounds quite splendid indeed.


Next up for Big Jazz Band Reviews: the beautiful world of Maria Schneider and the next installment of Ryan Truesdell’s Gil Evans Project.



If you would like to read more reviews like this one, visit Nelson’s blog at

Nordost Playlist – September 2015

Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.

Here are some of the songs that we will have on rotation this September.


  1. All The Pretty Girls – Kaleo –All The Pretty Girls
  2. Hide and Seek — Imogen Heap —Speak For Yourself
  3. You Had Quit Me — Wild Child Butler — Sho’ ‘Nuf
  4. Don’t—Ed Sheeran—X (Deluxe Edition)
  5. Leave A Trace — CHVRCHES — Every Open Eye
  6. Say Goodbye— Beck — Morning Phase
  7. Satisfied Mind—Ben Harper, The Blind Boys Of Alabama—There Will Be A Light
  8. Isfahan  — Sophisticated Lady — Sophisticated Lady
  9. Ultraviolet — FKA twigs — EP2
  10. Queen Of Peace  — Florence + The Machine — How Big, How Blue, How Beautiful

Meet Nordost Brand Ambassador, Eleanor McEvoy

Meet Nordost Brand Ambassador, Eleanor McEvoy. Eleanor has been an avid user of Nordost cables throughout her career— in her home, in her performances, and in the recording studio.


“McEvoy has the skills of a first rate songwriter. She gives her songs full fledged melodies, not just a repeated phrase or two”

— New York Times

Eleanor McEvoy achieved star status in Ireland in 1992 when her song “A Woman’s Heart” inspired the title for, and appeared on, the A Woman’s Heart anthology album. A Woman’s Heart has since gone on to become the best-selling album in Irish history. Its 20th anniversary in 2012 saw twelve sold-out “Woman’s Heart” shows at the Olympia Theatre.

Her career as of one of Ireland’s most popular songwriters started at age four when she performed in an Irish music competition as part of her sister’s band. She later took up the violin, and began playing the guitar in her teens. She graduated from Trinity College Dublin with an honors degree in music and was accepted to the National Symphony Orchestra of Ireland as a violinist.  She worked with the symphony orchestra and also as a session musician playing for many acts including U2 and Sinead O’Connor before she finally left that world behind to concentrate on her real passion—songwriting.

She released her eponymous debut on Geffen records followed with tours in the USA, Europe and East Asia. She moved to Columbia Records in New York for her second album “What’s Following Me?”. “Precious Little”, the first single, was a top ten radio hit in the US.

Since then, Eleanor has gone on to become an artist and performer known throughout the world. Her critically acclaimed canon of work spans eleven albums, forty singles, and appearances on numerous compilation albums. She is today recognized as Ireland’s most successful female singer-songwriter, having enjoyed personal chart success and numerous cover versions of her songs by performers Emmylou Harris, Mary Black, Phil Coulter, Mary Coughlan, Bella Hardy, Eliza Carthy and Jack L, among others. Her song “All I Have” was featured in the HBO cult series “Six Feet Under.”

Her latest album “STUFF” described as “a standout” by the Irish Times also received rave reviews around the world. John Shand of The Sydney Morning Herald exclaims, “Sass and vulnerability are a rare combination that Eleanor McEvoy is capable of absolutely nailing”.