Chris Potter is no stranger to hard work and the nature of the beast that is the professional jazz world. With over fifteen album releases and 150 guest spots on records of some of the most prolific musicians in the industry (a list that includes Steeley Dan for all you non-jazz heads out there) Chris Potter sits in the top echelon of saxophonists in an ever changing and modernizing international scene.
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Love him or hate him (because it’s more than likely one of the two) Conor Oberst is one of his generation’s most eminent singer/songwriter, not to mention prolific. Most commonly known as the one man/band folk rock act Bright Eyes, his side projects include Conor Oberst and the Mystic Valley Band, Monsters of Folk, and Desaparecidos. The latter is a punk-rock band. As a fan of his works, I was a little surprised (and embarrassed) to find an Oberst project I hadn’t heard of. When the guy who turned me on to Bright Eyes told me about the single, I knew what I’d be writing about this week.
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It was the later days of her first project, and Connie Hong was beginning to feel like it was time to move on. She approached friend and producer Chris Beeble about beginning a new project, and from those early days of collaboration, Ivory Circle was born. Now armed with three extra members and a clearer musical focus, the band finds themselves in the middle of an EP trilogy. This month, the BandWagon caught up with Connie Hong to talk about the trilogy, and its process.
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Photos by: Dylan Adams
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Former Greeley band, now Denver favorite hit the ground running with their latest EP Full Nelson. It’s a raucous, thunderous expansion on their already raucous and thunderous sound. On Full Nelson we hear In the Whale in full command of this wild animal of a band birthed out of a particularly grueling time in the Greeley music scene. Since then they have clawed their way up the Colorado music latter with show after show, release after release, and now tour after tour. Full Nelson has them at their current best with five tracks of honest rock and roll.
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I’ll admit, I judged this book by its cover; the album cover, that is. Expecting some sort of sloppy metal, I braced myself for what I might hear. I could not have been more wrong. Jalbert commands the mic from first to last. The vocal that came as coy in Loyola loses the cuddle in favor of something more listless, lilting, and sardonic. The change is apparent in the instrumentation as well, which sports a fuzzy coating of 60’s psych, and sunny 70’s pop. The effect is something close to The Zombies meets Kimya Dawson, without any of the kitch.
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Photos By: Dylan Adams
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