Covering The Classics: Volume I

I was listening to some of my oldies but goodies recently and thought it would be cool to profile indie artists who have given 70s and 80s classics a contemporary twist. After much research, and I mean a lot of reviewing of YouTube videos, I finally came across an artist who has presented a solid, inventive interpretation of a song that was a major hit back in the day.

Soul/jazz artist Alison Crockett (Brooklyn, NY) has put her own stamp on Janet Jackson's When I Think Of You (1986) and delights with an entirely new groove.



And then there's Eva Cassidy, an amazing vocalist whose talent was short lived. She passed away in 1996 at the age of 33, but left us with numerous recordings, one of which is my favorite - Time After Time (1984) co-written and sung by Cyndi Lauper.

Burkina Electric: World Music On The Cutting Edge

Blending new rhythms, traditional African grooves and electronic dance music, Burkina Electric has created a sound that’s daring, entertaining and provocative. Originating from the West African country of Burkina Faso, Burkina Electric’s newest CD is Reem Tekre. From the time I popped in the CD, Burkina Electric had some part of my body, whether my toe taps to my finger snaps participating in the rhythm -- it was infectious. Led by Brooklyn-based composer/percussionist Lukas Ligeti, Burkina Electric has performed at the Lincoln Center’s Out of Doors Festival, the CitySol Festival and Joe's Pub in New York City, with plans to gig in Italy in 2009. Burkina Electric is made up of singer Maï Lingani, who sings in Moré, Dioula, Bissa, and French; guitarist K. Blass; electronicist/VJ Pyrolator; and drummer/electronicist Lukas Ligeti. My dialogue with Lukas Ligeta for Indie Mosaic Music.

Indie Mosaic Music: The instrumentation on your new CD Reem Tekre is vibrant, lush and colorful. Tell me about the instruments used on the CD.
Burkina Electric: Aside from voice, we use guitar, drum set, and electronics. Everything that doesn't sound like a guitar or a live drum set is the electronics. The electronics consist of laptops, which are triggered by two unusual midi controllers built by the California engineer Don Buchla: the lightning (which looks like two wands that you wave around in the air) and the marimba lumina (an electronic marimba). The sounds are mainly samples of street scenes and other found sounds from Burkina Faso, and of traditional instruments, which we treat in unusual ways using effects processing, looping, detuning, etc. We also use a fairly wide selection of software synths and plug ins.

(IMM): You've described your music as African electronic. What makes it different from most electronic music played in clubs today?
BE: The main difference is that we use different rhythms, beats, and grooves from most dance-oriented electronic music. The usual norm is to use rhythms closely connected to rock: funk, disco, jungle, drum & bass, etc. In our case, we use traditional rhythms from Burkina Faso such as ouaraba, ouenenga, ouire, etc., which are little known but embody the polymetric aspect of African rhythms in a very clear way. We also use other African rhythms, plus rhythms of our own invention - sometimes very strange! – and inspired by African traditions. Most dance rhythms used today the world over actually derive from African rhythms, so we're taking club dance music straight back to the source for some new inspiration.

(IMM): What challenges you most when it comes to composing music for Burkina Electric?
(BE): That's hard to answer. We compose collaboratively and work together really well. Challenges change from piece to piece; sometimes it can be something in the arrangement, or it can be the lyrics, or a melody...it's always different. We keep working at it until satisfied.

(IMM): When listening to the songs of Burkina Electric, what do you want your audience to come away with?
(BE): We hope people will discover that there are so many different rhythms out there that you can dance to...that it's good to be curious and to receive new influences, and that that might lead to inspiration, or to new, ecstatic experiences. And we hope to open up different cultures to each other, to raise awareness of the cultural richness of Burkina Faso in particular and Africa in general, but also to educate people in Africa about how outside influences can be used creatively. We always hope to inspire people to think outside the box.

(IMM): Lyrically, what do your songs say most often about Burkina Faso?
(BE): Our songs are about many topics...there are love songs, there's a song about going to the market, all kinds of things. There are also songs about topics relating to Africa, such as corruption, which is a big problem worldwide but has a particular dimension in Africa. And we have songs about agriculture, farming, which is a big issue in Burkina because the climate is so hot and dry, so farmers really have to work hard. Still other songs are inspired by proverbs or traditional tales from Burkina Faso.

(IMM): What is it about the music of Burkina Faso that makes it unique?
(BE): Burkina has a very lively urban music scene, with possibly the second biggest hip hop scene in West Africa after Senegal, and it has lots of different musical traditions that live on. However, it has been notoriously underexposed internationally, while Mali, Senegal, and other countries receive lots of attention. That has also led many musicians in burkina faso to imitate styles from elsewhere rather than forging an original path of their own, whether or not it is connected to local traditions. But local traditional music has beautiful instruments, melodies, rhythms, and dances, which we'd like to feature in our own mix, in which we deliberately try to be as original as possible. Burkinabe traditions also harbor lots of elements that contributed to forming the blues, so traces of predecessors of the blues can be found in various local traditions.

(IMM): I like to include a non-music related question for good measure. Do you have a favorite photographer, painter or other visual artist? If so, who would it be?
(BE): I can't speak for the others in the group of course, but personally, and to remain in Africa, I would mention the South African draftsman, filmmaker, and theater director William Kentridge. His work is a bridge between Africa and Europe and takes on the political situation in South Africa with much sensitivity, depth, and humor. Another artist who exudes the African spirit in a unique and great way is the photographer Malick Sidibe from Mali.

Sara Haze: Rising Above It All On The Ladder

When I first listened to Sara Haze's CD The Ladder, I was immediately struck by the depth of the lyrics on each song and Sara's soulful voice. She is certainly a talented young contender in an industry that has come to rely on over production and glitz. Tours for The Ladder have kept Sara busy performing at Canadian Music Week in Toronto, POPKOMM Fest in Berlin, as well as gigs in New York, Nashville, Los Angeles and San Francisco. My dialogue with Sara for Indie Mosaic Music.

(Indie Mosaic Music): The Ladder is a somewhat stripped down musical journal of raw emotions. What was your inspiration for this CD?
(Sara Haze): From the time I was about 14 to 17 years old, living in Orange County, I witnessed a lot of really bad things happen to friends and some to my family. I even lost one of my good friends due to an overdose. I steered clear of all of this by coming home at night and writing down my thoughts. I also went through the ordeal of getting my heart broken repeatedly by the same idiot. All of those stories I wrote in my journal became the inspiration on my album. The Ladder was a lyrical ascension out of these issues and out of my life. It was how I got away from everything. Now that the record is out, a lot of my fans write to me. Whether they're 15 or 40, they have all found comfort in knowing that they are not alone in these situations and they can really relate to this record.

(IMM): As a songwriter, what do you find most satisfying AND most challenging about the process?
(Sara Haze): The most satisfying part of this process is knowing that I have reached people and made them take a look at themselves and their own lives. The most challenging part about songwriting is learning how to dig deeper, write outside of my comfort zone, and grow as a writer.

(IMM): On The Ladder you offer listeners a level of maturity as a songwriter and vocalist that transcends your age of 18. What do you attribute that to?
(Sara Haze): At a young age, I was exposed to a lot. Rather then being involved, I chose to help others, and help myself by writing about it. My mom introduced me to singing when I was very young. She was singing in rock bands and was a vocal coach. I wanted to be just like my mom when I was little so I began vocal training when I was four and was singing in church by the time I was five.

(IMM): Who are your current musical influences? And why?
(Sara Haze): Vocally, I love Christina Aguilera. That girl can sing and she really inspired me when I was a young girl. She just touched me in a way that I can't describe. All I know is that her voice still moves me, I'm a huge fan. I love John Mayer's songwriting and his voice is amazing. His entire vibe is just so cool and he's great live. I also really love Sara Bareilles. She is so real and honest in her lyrics and her songs are so catchy, and just brilliant. I love so many artists, but those are the ones that really stick out to me.

(IMM): What's your favorite song on The Ladder? And what's the back story for the song?
(Sara Haze): My Addiction is my favorite. That song just means so much to me. The lyrics are raw and honest. The first time I performed it in public, I just broke down because the story is so real to me. I wrote that song about my first love. He had an addiction problem, but then I realized that I did too. I was addicted to him and it was just so unhealthy that I had to get out of it.

(IMM): How would you describe your music to the uninitiated?
(Sara Haze): It's pop singer/songwriter but the songs are based on true life stories. Lyrically, I'm a story teller. My music in sincere and soulful.

(IMM): What instruments do you play on the CD?
(Sara Haze): I played the keys, the bass trombone and I can play a mean triangle. Just kidding, I just played the piano...

(IMM): What's next for you musically?
(Sara Haze): I'm traveling to new cities to work with various songwriters and producers. The new cities and writers are bringing out a different side of me and I'm having so much fun writing new material and expanding myself as an artist. I have started traveling to Nashville and New York to work with some new writers and producers. Nashville songwriters are amazing. I am so glad that I got hooked up in that town. New York moves at such a fast pace. Just being in a different place and writing with people I don't know brings out different ideas. We have lots of new material and I can't wait for the world to hear it.

(IMM): I like to include a non-music related question as a part of the interview: What's an ideal vacation locale for you?

(Sara Haze): I'm from Orange County, so I'm a beach girl. Laguna Beach is beautiful and it's my favorite place to go when I need to unwind and the sunsets are just gorgeous. I'm so lucky to have grown up there.

Blame Sally: A Modern Female Version of Crosby, Stills, Nash & Young

The music of Blame Sally is diverse, relevant and harmonious. The four women who make up the quartet, Pam Delgado, Renee Harcourt, Jerri Jones and Monica Pasqual, are accomplished musicians in their own right, each having written and performed independently. The San Francisco residents joined forces in 2001 to form the band and subsequently released their debut live CD Blame Sally. Their newest CD, Severland, was released in 2007 and is a stellar collection of folk and pop songs. They've performed at a number of acoustic festivals around the country including Four Corners Music Festival and Live Oak Music Festival. They are set to perform at the American River Festival in Coloma, California, in September. My dialogue with Blame Sally for Indie Mosaic Music:

(Indie Mosaic Music): Your music has been described as lush, brainy, pure and honest. How would you describe your music to the new Blame Sally listener?
(Blame Sally): Monica: Wow, that's a pretty nice description. I don't know about the brainy part, but I'd definitely call it pure and honest. It's also pretty eclectic because we are such different writers with different experiences and musical tastes. Somehow we've managed to merge these differences into something pretty unique and coherent. But new listeners often want something they can refer to - I like to think of us as something like the modern female version of early Crosby, Stills, Nash & Young - lots of harmonies, very different writers, good playing. The 60s and 70s had several groups like that - Fleetwood Mac, The Byrds, Buffalo Springfield and, of course, the Beatles. I don't know of that many that are doing that in our genre these days - there are groups of individual songwriters who have come together to record and perform, but to me most of them still sound very much like songwriters playing each others songs. I think we have managed to create a sound that is recognizably Blame Sally, no matter who is singing lead or who wrote the song.

(IMM): Given that each of you has an extensive songwriting background, how did you decide which songs to include on Severland?
(Blame Sally): Monica: We try to be pretty even-handed about that and at the same time we look at what will work within the context of a whole album. Renee and I write a ton of songs, so we usually can choose from a pretty big pool. Sometimes there are songs that are just obvious, (we knew "If You Tell a Lie" had to be on that album because it was so timely). Then there are songs that really define the album - in this case, I think the title song, "Severland" really set the tone for the whole album. We all felt that it aptly portrayed the mood of the times - both personally and globally. "Devil to Pay" worked on the album because of Severland - they were like the two very serious anchors. Pam's "Trouble" was a wildcard. She wrote that song and we loved it, but it was like nothing we'd performed before - really raucaus and old country sounding - it was tricky to fit into the album, but I think that, "Moth to a Flame" and "Long Time" ended up balancing out the more serious tone. I generally work on the order of our sets and of our albums and I think "Severland" was the hardest to order - but for me it's also the one that works best as a whole album.

(IMM): What's the songwriting process like for the band? Do you write together or individually?
(Blame Sally): Monica: Jeri and Pam sometimes write together and Renee and I have written a Blame Sally song together (we've also composed music for film and tv together) - but as a band we hadn't ever written together. We just wrote a song together a couple of weeks ago and it was pretty fun. It's too early to say what the process will be like, but I think in general we all understand that the key to writing together is dropping the ego as much as possible. I think that's a challenge for writers. I suspect for me that my attachment is mostly to words - I'm really picky and attached to what I say and how. I'm hoping the song we just wrote goes on the new album - it's a true collaboration.

(IMM): For each member of the band: what's your favorite song on the CD and why?
(Blame Sally): Monica: "Severland" and "Devil to Pay" tie for me. I love dark, sad songs. They both have a raw quality and a lush quality. I love Jeri's guitar solos on both and the groove. Renee: "Besalu" and "Severland." I usually go for the groove songs, but in this case, emotion wins out. I have always loved "Besalu" and was quite pleased with the recording (although I haven't listened to it in probably a year). "Severland" can still make me cry if I really let myself in it when I listen. Jeri: "House of the Living" is my favorite song from "Severland." It's such a song of the times to me, mournful, sarcastic and ultimately hopeful. I love the way it sounds too, Pam's gorgeous vocal performance, Renee's guitar in the intro and her anti-solo, Monica' haunting piano throughout. All of us stretched instrumentally on that arrangement. Pam: My favorite song on the album is "Severland" for its layers of emotion... It's the only Blame Sally song that I always include in my workout playlists. It's super good for warm-up and/or cool-down.

(IMM): What's the back story on the title of the CD Severland?
(Blame Sally): Monica: Renee can tell you about the reason she titled the song that. As far as why we titled the album that - again, it totally described the sort of cut-off and stranded feeling of the times. We'd all had some really difficult experiences in the year before the record came out and I think that we felt that the world was also in that space. It's a cool made up word, very evocative and probably has a different meaning for each of us. Renee: It was the last mournful song I wrote about the grief I had over the breakup of a long-term relationship with someone I still consider to be my soul mate. "Severland" is a place I made up...the place I felt I was in for so many years following the break up. Severed from my soul mate and my family. The severed from family feeling is an old, familiar feeling I have felt since I was a kid growing up, which I feel is finally healing.

(IMM): Which of your songs received pre-Grammy nominations? What was that experience like?
(Blame Sally): Monica: That was fun. We were pre-nominated for Best New Artist, Best Album and Best Song: "Severland."

(IMM): How has the vibe of San Francisco influenced your music?
(Blame Sally): Monica: San Francisco is the biggest little city or the littlest big city - either way, you get all the culture, the diversity, the excitement of a bigger city and yet it's so much easier to be here. Personally, I think that in San Francisco we've had the luxury of being able to approach our music from a relaxed placed without all the pressure to succeed that we might have gotten in LA or NYC. I think we've developed a style and sound that is organic and unafraid.

(IMM): I like to toss in a bonus non-music related question for fun. Here goes: What tech gadget could you NOT live without?
(Blame Sally): Monica: Oh, oh. Wrong person. I'm going to toss that one to one of the other Sallies. Personally, I've always thought I'd love to go back to the 19th century, ride a horse and sit by the fire with a book. I'll admit that the Web has probably been pretty good for us, though. Renee: I think I could live without just fine without any of them, but I do love my Mac and my iPod. : ) Jeri: Well, in my case this question IS music related. I couldn't live without my electronic guitar tuner with all those stringed instruments onstage and no guitar tech. My life would be a nightmare without my tuners and I travel with three of them. I should suggest that Apple add it as a feature to my iPhone. Pam: My Garmin Nuvi 200 GPS unit... In fact I can't believe everyone in the band didn't come up with this one. We've all become quite dependent on it while touring. Monica named her Clare. Clare provides us with endless amounts of entertainment and Renee and I might be falling in love with her...

Dana Leong's Anthems of Life

As an electro-jazz cellist and composer, it's safe to say Dana Leong has created a niche that only he can fill with his unique fusion of jazz, hip-hop and funk. Often referred to as the "hi-def Yo-Yo Ma," the New York resident's newest CD Anthems of Life is a funk-laden, hip-hop, jazz journey. The Dana Leong Band features Dana (cello/trombone/laptop), Aviv Cohen (drums), Adam Platt (keyboards), and MC Mtume Gant a.k.a. Core Rhythm (rap vocals). My dialogue with Dana for Indie Mosaic Music:

(Indie Mosaic Music): What was the inspiration behind Anthems of Life?
(Dana): Anthems of Life is a collection of sounds, sights, flavors, and emotions acquired along our life-long journey. I continue to search for a machine that can capture the raw energy and intensity of my music. Similarly, I also wanted to collaborate with MCs who could stir the same amount of molecular excitement with their lyrical command.

(IMM): What did you learn from the production of your debut CD Leaving New York that you applied during the production of Anthems of Life?
(Dana): I learned so much from producing my first album Leaving New York that I decided to open my own recording studio. Before that point, I had a few pieces of music/recording gear that were piled high in my living room. The right tools for the job are PRICELESS!

(IMM): What is it about hip hop and jazz that enables you to blend and fuse and come out with your signature sound?
(Dana): Both hip hop and jazz influence and empower me to create my own sound because they are the closest to home. I grew up in the San Francisco Bay Area and long before moving to New York City, I was deep into the hypnotizing thump of hip hop but loved the expression in jazz. After going to a conservatory, I realized that I was focusing a lot on what other people were doing and how they did it and not till much later was able to maximize my creative potential by 'coming home' (musically speaking.)

(IMM): Tell me about your tour of the South Pacific with the U.S. State Department's Rhythm Road: American Music Abroad program. What was most memorable? Was the audience reaction/reception to your music any different than what you expected?
(Dana): We have our own tour blog on my website which hosts a whole lot of images from our tour. I can't say it enough that our recent tour was really monumental personally as well as musically. The thing that will stick with me is the adrenaline. There's nothing more magical and mysterious than functioning on 3-5 hours of sleep for six weeks, yet still feeling refreshed. Being able to make a mark in history through a program so plentiful with iconic musical figures such as Louis Armstrong, Dizzy Gillespie, and Quincy Jones is an honor and a testament to our own mission to bring good music with a positive message to as many people as possible.

(IMM): What attracts you to the trombone and cello -- what some would consider two very different instruments?
(Dana): Now that I am a few years past the obligatory practice regime known as M.O.M, I enjoy both instruments because of their differences. With the trombone, you can call out all the way to the furthest point with nothing more than your own body, and with the cello, you draw people in to listen and get inside their body.

(IMM): Who would you like to gig with (in studio or in concert), if you had your ultimate choice?
(Dana): There are a few people who I missed opportunities to play with for one reason or another but I still have love for Jay-Z, Kanye West, and Evanescence. I'm also a sucker for the funk of Bootsy Collins.

(IMM): What's next for you musically? Any tours or collaborations?
(Dana): We (Dana Leong Band) are collecting tour dates and are looking to travel to Japan at the end of the summer as well as Europe in the fall. A new album is underway and the next recording session starts tonight! I've also started a new artist collaboration platform called "Life After Dark" (www.LIFEAFTERDARK.us -- coming soon,) which documents (audio and video) my favorite artists in never seen before collaborations.

(IMM): Here's a totally non-music related question thrown in for good measure. What's your preference - novels or magazines - and what are you currently reading?
(Dana): Lately, I choose magazines over novels. I've always been a literal person and prefer non-fiction. I read to learn and research the things I want to know (which never ends).

Listening Lounge
Stand out songs that make my cut. Check them out.

Tim Bowman (Jazz) - Acoustic Rain. This song reminds me of a lazy summer evening. Margaritas anyone?






Sabrina Malheiros (Bossa Nova/Jazz) - Terra de Ningeum. A smooth, hypnotic groove by this Brazilian artist.




Nathan Angelo (Rock/Soul)- The Road Home. In one word: Refreshing!









Sam and Ruby (Pop/Folk) - The Here and The Now. Wonderful harmonies from this Nashville-based duo.

Eclectic Mix Podcast: Life Is Like a Box of Chocolates
George Smyth launched Eclectic Mix podcast in July 2005. When I first came across his podcast a few months ago, I was immediately struck by the diversity of the music he presents each week on Eclectic Mix. George's podcast reminds me of a quote from one of my favorite movies, Forrest Gump. "Life is like a box of chocolates. You never know what you're gonna get." I never know what new artist or musical genre George will feature and that's the best thing about Eclectic Mix - its unpredictability. George lives in Columbia, Maryland, which is about halfway between Baltimore and Washington, D.C. With what I suspect is a bit of dry humor, he considers himself a "Baltimoron."

(Indie Mosaic Music) What made you decide to begin Eclectic Mix podcast?
(George) When I was in college (35 years ago) and for a time thereafter, I recorded LPs I had purchased and gave the cassettes to my friends so that they could be exposed to the music I loved. I had a chance to expose them to music they had not heard before. When I heard about podcasting, I realized that I could do this again, and instead of offering the music to my friends one at a time, I could offer it to anyone in the world simultaneously. This realization came at a time when I found out that there was surprisingly innovative music available by independent artists (my interest in popular music had faded when the major record labels bought out the independents in the early '80's).

(IMM) Although the music of the podcast is certainly diverse, do you have a favorite genre?
(George) Classical music. If there had been enough independent Classical artists looking to offer their work when I initially thought of starting a podcast then I would have gone with that single genre. Unfortunately, this still is not the case, but fortunately, it gave me the chance to continue to explore types of music I might not have otherwise thought to listen to.

(IMM) How do you go about selecting musicians for the podcast?
(George) The majority come either through submissions or Magnatune. The latter makes things exceptionally easy by offering a podcast. Although it is not offered on a regular basis, I listen to just about all of them, and when I hear an artist whose music I wish to feature, it is a simple matter to download a perfect (.wav) copy of the recording. Submissions that point to MySpace are easy for me because I can listen to a group of the artist's songs and make a decision. Ariel Publicity makes it easy in that they offer a website where I can request a CD. The bottom line is that with so many submissions coming my way, making it easy for me to decide and get enough music for my show is key.

(IMM) Do you have a musical background?
(George) Yes, I have played a multitude of instruments during my lifetime, and spent two of my college years as a Music Theory and Composition major. Music has always, and will always, be a major part of my life.

(IMM) What would you like listeners to come away with after listening to the podcast?
(George) I would like them to open their mind and listen to music they may not have thought to listen to. Although some music featured on the podcast can be considered standard "Indie Rock," the majority of music on the show is not music you would expect to hear on the radio. Wonderful music can be found on so many forms that it is unfortunate that the music monopoly has narrowed many people's tastes to the pedestrian choices of "American Idol" commonality or the same Rap music we have all heard for the past 20+ years. Monopolies stifle creativity, but independent artists can choose to follow their own path. All of the music I feature is not for everyone, as I do not concern myself with a lowering to the smallest common denominator, but I hope that listeners give what is offered a try, as they just might discover music that is outside of what they thought they might like. I want them to come away with an adventure after listening to my podcast.

(IMM) For the fun of it, here's an "off the wall, non-music related” question. Do you prefer coffee or tea and why?
(George) That's an easy one - coffee (unless I am eating Chinese food in a good restaurant). I like taste to be something that announces itself with pride, as opposed to being hidden in hot water.