“Playing in the streets is the best education you can give yourself,” she said. “You have to play for people who don’t have any reason to see you. You have to send a charge of energy to attract them. I felt like I had this power in my chest, like a magnet in my heart: energy force, engage!”
At the end of the day you are out here to prove yourself, with or without a degree. The degree may help, but it won’t guarantee anything either. I know plenty of people who have a degree and can’t find work, and I know people who have a degree and come out of college with a list of opportunities.
“Swingset” riffs around the same, simple melody and a marching band drum beat with sparks of percussion, piano, and guitar leaning toward the Nashville side of things. That’s James Hollihan again on electric guitar, digging his own country mile, and saxophonist Rahsa…
Her sweet, tangy vocals rose and set on Mancini/Mercer’s naturally evolving pulse points of groove and contrast, give and tension, the layers and undertones of context beneath all the tempting, soaring notes — all the while, refusing to play to the easy melodies of the past. She went for the harder choice… circumventing catchy hooks for more elusive harmonies inherent in melody’s shadow, coaxing them out, bit by bit, while the audience marveled, breathless.
She has a new album. It is entitled “New Me!”, and it comes from deep places within. Love places. Heartbreak places. Loneliness places. The music is laced with Birdland but built on Bach. It signifies a total rebirth of Kimiko as an artist, as a composer.
…and/or Jeremy Spencer. I begin to see the point of the wig: it’s midway between all his prototypes. I wonder how many of this audience know what’s happening, and I toy with the idea that the bass player could adopt a headmaster’s mortarboard and gown to mimic the late Bob Brunning; but no, he’s remembered he’s parked on a meter in a tow-away zone. Just the notes and the rhythm, that’s all he’s giving us.
ku…on other things, maybe an argument he’s going to have with his builder about the conservatory roof. I’m impressed and irritated in equal measure by this one’s ability to play accurately without looking at his instrument, or at anything else. He stares into his middle distance, making no eye contact with anyone, his jaw set as he wonders whether he left the gas on at home. The lead guitarist has a lot to do, including backup vocals, and doesn’t quite achieve what his rol…