Reviewed Crepuscule with STOMP There’s not much point in writing a review for STOMP. It makes as much sense as describ- ing a visual to someone who's blind. Go see STOMP. That's our review. STOMP is a “Clash of the Titans meets Mothra” type of affair. There’s a lot of banging, a lot of kicking, a lot of shouting and a lot of SWEAT. Think back to Coca-Cola com- mercials, circa 1989. That was STOMP with the oil drums on their feet, breaking blocks of ice on a conveyor belt. All you Hollywood freaks now know STOMP from their performance at the Academy Awards. STOMP is big and well-war- ranted! You will probably never find a group with a more accu- rate sense of rhythm unless you get thirty Joey Barons, twenty John Wrights and twelve Barry Rhombergs in a room together, plugged into an electro-pulse machine, triggering each one in unison. For this reason, it’s safe to assume that STOMP is made up of a bunch of super-human androids. STOMP does not make mistakes. STOMP is an all out, no-holds- barred, “Wrestlemania Royal Rumble”. It’s worth missing a few meals and a couple of albums to see this show (tickets start @ $32). However, we highly recommend you spend the extra $20 to get the Ambassador specials. The closer you are to this flailing madness, the better. Fifty bucks may be steep, but nothing is worse than being across the street from the production you could be seeing. If you can, see the show twice. You can’t take in the energy produced in one night all in one sitting. Fact. This full-on Beat-a-thon also contains portions of audience participation. It should be point- ed out that | (Jake), at first, refused to take part in the clap- along, because | didn’t want to be part of the problem (an anti- rhythmic mess). That and because I’m an elitist bourgeois snob. However, the crowd did get their act together quite quickly, and I, too, was clapping along with the rest of the folks in no time. Okay, one more stupid description: “Flash Gordon vs. King Kong in the Battle Royale for the Cosmos”. And that’s what we saw on opening night. We'd also like to give our sin- cere thanks to Lianne Romans (promotions, STOMP Vancouver), for setting us up with the best seats in the house. We just regret having sold our original tickets when we received our press passes. We SUCK! —Jake & Erin ten billion stars. the Serotones Contention Bonafly @ The Hungry Eye Being from B.C., it’s always interesting to me how many people are here from points east (although, Vancouver being the most western point on the conti- nent, | guess everywhere is points east...) and this show consisted Contention of a bunch of people | know, some of them from Ontario. | want to get one thing over with so | can get onto more important stuff...the Serotones sucked in such a way that was so incredibly bland that it was almost awesome to witness. Their lyrics were so boring and ill-considered that it enraged me. If someone wants you to go see them, do so only under protest. Contention played first and I'd like to say right now that playing first on a Wednesday night is a hard line to toe [sic] any time, and these boys, who hail from a small town in Ontario, were undaunted, play- ing a set of tight and intensely rhythmic songs, at times approaching a Zappa-esque sense of jazziness, that made me smile to myself as | sat in one corner of the room just feeling the band as | always do when attempting to review (whew, please forgive, and do not alter, my free-form poetry there...). | like Contention’s heavier num- bers as well, particularly one of the tracks off of their brand new independently released CD (which can be bought at fine record stores here in Vancouver...) these days. The gui- tar/voice resonator Adam Bartlett uses an electric/acoustic for the tune, and it’s nigésand heavy — rich like gravy. The tal- ents of bassist Mark Resmer and drummer Ryan “the shot” Evans (the nickname obviously eluding to some sort of nasty habit) were top-notch. Evans is one of the cleanest technical drummers | have seen in awhile, and the way he moved the band through their set was nice to watch. Bonafly is another band that | would have to say is trying to make their way to stardom on this crazy locomotive called the groove train, and there is some neat stuff evolving here, too. Melodically, guitar-guy Nick and bass-woman Joelle have some splendiferous vocal action hap- pening. Instrumentation is nicely considered as well, Nick at times clearing the way for the rhythm section some good, solid lines. Despite their attention to funk, some of Bonafly’s tunes were evoking Sonic Youth memories and this is nothing but daisies and jelly beans for me. The only other thing I'll say was that Joelle did a song by herself at the end, and she rocked. She should con- sider doing this more often, in my opinion. But really, all of this is my opinion and | feel confi- dent making it public. —Kacey McDougall May-June 1996 / Planet of the Arts 25 This is a public service announcement: Music West °96 “The Showdown” When? May 2-5. FESTIVAL 200 rocking indie bands CONFERENCE “Empowerment, futurism, activism” To register call 684-9338. SLAM CITY JAM National Skateboard Championship Nations from May 3-5. And now, a plug for the littler guys: Sat. May 4 - 10:00pm - $7 Feature showcases at venues around town include Guided by Voices, Bad Religion, J.J. Cale, Stereolab, Seaweed, Mike Keneally, Download, Treblecharger and MORE MORE MORE. $34 to Ticketmaster gets you a Festival Wristband. Talks with Doug Rasheed, Johnette Napolitano (Concrete Blond), Mark Hudson (Aerosmith songwriter & producer), Prof. Griff (Public Enemy). “Rad” street.and vertical competitions, ‘and bands to match’ at Plaza of Music West's internet website will also host online transcriptions of conferences, celebrity interviews, plus spoken word broadcasts by the likes of Lydia Lunch, Exene Cervenka, Michael Turner, and more... Check out their site at http://www .musicwest.com The Primrods + Svelt + Atomic Folk + Puncture at The Hungry Eye, freeCDreviews Ellis and Brandford Marsalis Lover Ones (Columbia CK 67369) Released 1996 (Total time: 75 mins.) In addition to being the jazz pedagogue of choice and the father of a family of the most acclaimed musicians in contem- porary jazz, Ellis Marsalis has emerged in recent years as a strong stylistic piano voice within the jazz idiom. Loved Ones dis- plays considerable growth in Marsalis’ musical development, especially in comparison to his previous solo/duo release the Resolution of Romance (1989) with trumpet player and son Wynton Marsalis. The elder Marsalis came up through the Fifties bop and post-bop schools, two periods much emulated by today’s younger generation of players with a “forced con- trivance” as Delfeayo Marsalis’ liner notes in this release put it. Ellis has avoided the trend to play in this popular yet retrogres- sive mode and instead combines the influences of Keith Jarrett, Herbie Hancock and other con- temporary masters in a style that marks him as one of the more original players in the current scene. Ellis is joined by son and saxo- phonist Branford Marsalis on nine of the fourteen selections on this disc. While Branford has established himself as an innova- tive creative force in the jazz world, particularly on 1991's The Beautiful Ones Are Not Yet Born, this latest recording does not afford him the opportunity to truly stretch out and explore his musical conceptions further. It does, however, show that he is capable of more than simply playing in a manner appropriate to whatever musical setting he may be in (a feature on which a large part of his renown is based); his sophisticated rhyth- mic concept, technical virtuosity and astounding vocabulary of historical references are evident throughout. Perhaps the only “forced con- trivance” on this album is the thematic thread that ties the wide range of classic ballads and standards together. This thread continued on next page Reviewed worse than being across the street from the production you could be seeing. If you can, see the show twice. You can't take in the energy produced in one ight all n one siting. Fact. Crepuscule with STOMP There's not much point in ee eee. Thisfullon Beata-thon also Ing visu tovoncone who's contains portions of audience aoe Participation. It should be point “Go see STOMP. That's our ©40Ut that! ake), at frst, refused to take part in the cap review. STOMP is a“Clash of the 40, because I didn’t want to ‘Titans meets Mothra" type of -__B€ Part ofthe problem (an anti- rhythmic mess). That and, because I'm an elitist bourgeois snob. However, the crowd did {get their act together quite quickly, and |, too, was clapping ‘along with the rest of the folks in no time. Okay, one more stupid ‘description: “Flash Gordon vs King Kong in the Battle Royale for the Cosmos". ‘And that’s what we saw on ‘opening night. We'd also like to give our sin- ‘cere thanks to Lianne Romans (promotions, STOMP. Vancouver), for setting us up with the best seats in the house. We just regret having sold our original tickets when we received ‘our press passes. We SUCK! “Jake & Erin ten billion stars. affair. There's a lot of banging, a lot of kicking, a lot of shouting and a lot of SWEAT. Think back to Coca-Cola com- rmercials, circa 1989. That was STOMP withthe ol drums on their feet, breaking blocks of ice on a conveyor belt. All you Hollywood freaks now know STOMP from their performance atthe Academy Awards. STOMP is big and wellwar- ranted! You will probably never find a group with a more accu- rate sense of rhythm unless you get thirty Joey Barons, twenty John Wrights and twelve Barry Rhombergs in @ room together, plugged into an electro-pulse ‘machine, triggering each one in tnison. For this reason, it's safe to assume that STOMP is made Up of a bunch of super-human androids. STOMP does not make mistakes. the Serotones STOMP is an all out, no-holds-. Contention barred, “Weslemania Royal Rumble” Bonafly Tesworth misting afew meals @ Te Hunary.Eye and a couple of albums to see this show (tickets start @ $32) However, we highly recommend you spend the extra $20 to get the Ambassador specials. The closer you are to this failing madness, the better. Fifty bucks ‘may be steep, but nothing is Being from B.C, it’s aways, interesting to me how many people are here from points east (although, Vancouver being the ‘most western point on the conti: nent, | guess everywhere is points east.) and this show consisted cof a bunch of people | know, some of them fram Ontario. | want to get one thing over with st can get onto more important stutt..the Serotones sucked in such a way that was so incredibly bland that it was almost awesome to witness. “Thee lyrics were so boring and ilkconsidered that it enraged me. if someone wants you to go see them, do so only under protest. Contention played fist and Wd ike to say right now that playing fist on a Wednesday night i @ hardline to toe (sic) any time, and these boys, who hail from a small town in ‘Ontario, were undaunted, play ing a set of tight and intensely ‘hythmic songs, at times approaching a Zappa-esque sense of azziness, that made me smile to myset as | satin one ‘comer ofthe room just feeling the band as! always do when attempting to review (whew, please forgive, and do not alter, my free-form poetry there.) | like Contention’s heavier num bers as wel, particularly one of the track off of their brand new independently released CO (hich can be bought at fine record stores here in Vancouver.) these days. The gu- tar/voic resonator Adam Bartlett uses an electic/acoustic for the tune, and its niegana heavy — ich lke gravy The tal ents of bassist Mark Resmer and drummer Ryan “the shot" Evans (the nickname obviously eluding to some sort of nasty habit) were top-notch. Evans is ane ofthe cleanest technical deurnmers have sen in awhile, and the way hhe moved the band through theie set was nice to watch Bonatlyis another band that | would have to say is trying to ‘make their way to stardom on this crazy locomotive called the ‘groove train, and there is some neat stuff evolving here, too Melodically, quitar-guy Nick and bass.woman Joelle have some splendifeous vocal action hap pening. Instrumentation is nicely considered as well, Nick at times clearing the way forthe rhythm section some good, solid lines Despite their attention to funk, some of Bonatlys tunes were ‘evoking Sonic Youth memories and this is nothing but daisies and jelly beans for me. The only other thing I'l say was that Joelle did a song by herself a the end, and she rocked. She should con Sider doing this more often, in ‘my opinion. But rally all of this is my opinion and I feel conti dent making it pubic Kacey McDougal May;June 1996 / Planet of the Arts 25 This is pub serdce announcement Music West ‘96 “The Showdown” When May 26 FESTIVAL 200 rocking ne bands Feature showcases 2 venues around town include Guided by Vole, Bad Religion J). Cale, Stereolab, Seaweed, Mike Kenely, Download, ‘reblecharger and MORE MORE MORE. ‘840 Tckeroster gets you a Festal Wisand CONFERENCE “Eimpoweaent furs, ats” “ols wih Doug Rasheed Johnette Napottane (Concrete Blog), Mark Hudson (Aerosmith songwriter & producer). ro. Grif Public Enemy) Toregister al 684-9338, SLAM CITY JAM [Nadonal Skateboard Championship “fad” set ad vertical competion, and bands to math at Plaza of Nations rom May 35. Music Wes’ intemet webs wi also host onine transcriptions of conferences, Celebrity interviews, pls spoken word broadcasts by the kes of Lea Lunch, rene Crvenka Michael Turner, nd more Check ut her sea tp://asw.musiewest.com, ‘And now. 2p forthe ery: The Primrods + Svet + Aiomi Folk + Puncture at The Hungry Eye Sat May 4 10:00pm - $7 free(Dreviews Elis and Brandford Marsalis Lover Ones (Columbia Ck 67369) Released 1996 (Total time: 75 mins.) temporary masters in a style that marks him as one of the more original players in the current Elis is joined by son and saxo- phonist Branford Marsalis on rine of the fourteen selections (on this disc. While Branford has established himself as an innova: tive creative force in the jazz world, particularly on 1991's The Beautiful Ones Are Not Yet Born, this latest recording does not afford him the opportunity to truly stretch out and explore his ‘musical conceptions further. It does, however, show that he is capable of more than simply playing in a manner appropriate to whatever musical setting he ‘may be in (a feature on which a large part of his eenown is ‘based); his sophisticated rhyth- ‘mic concept, technical virtuosity ‘and astounding vocabulary of historical references are evident throughout Perhaps the only “forced con- ‘tivance” on this album is the thematic thread that ties the wide range of classic ballads and standards together. This thread canted on ext page In addition to being the jazz pedagogue of choice and the father of a family of the most acclaimed musicians in contem- porary jazz, Elis Marsalis has lemerged in recent years as a strong stylistic piano voice within the jaz idiom. Loved Ones dis plays considerable growth in Marsalis’ musical development, especially in comparison to his previous Solo/duo release the Resolution of Romance (1989) with teumpet player and son Wynton Marsalis. The elder Marsalis came up through the Fities bop and post-bop schools, ‘two periods much emulated by today’s younger generation of players with a “forced con- trivance” as Delfeayo Marsal liner notes in this release put it Elis has avoided the trend to play in this popular yet retrogres- ‘sive mode and instead combines the influences of Keith Jarrett, Herbie Hancock and other con-