House Of Wax: Torres Rocks A Philadelphia Basement On Her Solo Tour

Torres was in the house! Well, not our house, but some other Philadelphian’s. But we went, so it was sorta our house for a while, in that we hung out in the basement, listening to music and drinking beer. The Brooklyn-based Mackenzie Scott kicked off the new year playing solo shows along the East Coast in people’s homes. MAGNET’s Chris Sikich was at the Philly show to capture all of this righteous woman’s underground—or is that below-ground?—magic

Alejandro Escovedo Brings His Mexican-American Concept Album And Italian Backing Band To Philly’s Aptly Named World Cafe Live

It’s nice seeing a music lifer like Alejandro Escovedo making some of his most vital music this deep into his career. It’s even nicer seeing it up close and personal. The 68-years-young Escovedo and Italian band Don Antonio came to Philly’s intimate World Cafe Live in support of The Crossing, the excellent concept album they collaborated on from last year. Don Antonio opened the show before serving as Escovedo’s backing band. MAGNET photographer Chris Sikich was there to witness this real live animal.

“It” Rapper Noname Brings Her Poetry Of Emotions To The City Of Sisterly Love

Telefone, Noname’s debut mixtape, was our number-four hip-hop album of 2016, while her first studio LP, Room 25, was our number-three hip-hop record last year. So whatever the Chicago rapper/poet releases in 2022 will probably end up at the top of that year’s list. But in the meantime, Noname just mesmerized the Philly crowd at Union Transfer with a little help from her killer live band and new backup singers. Fellow Windy City rapper Elton opened the show. MAGNET photographer Chris Sikich checked in to room 25 and was sorry he couldn’t make it an extended stay.

Elton

New Supergroup Hammered Hulls Hits The Road For The First Time

Members of Ex Hex, Ted Leo & The Pharmacists, the Nation Of Ulysses, the Make-Up, Edsel and the Warmers walk into a bar. No, it’s not the setup to a Jon Wurster joke or a benefit show at the original Black Cat club from 20 years ago. Instead, it’s a double bill of Hammered Hulls and SAVAK at Philly’s Boot And Saddle. This month, D.C. post-punk supergroup Hammered Hulls—vocalist Alec MacKaye, bassist Mary Timony, guitarist Mark Cisneros and drummer Chris Wilson—came to the City Of Brotherly Love to play their fourth ever show, with Brooklyn’s SAVAK—another supergroup featuring Sohrab Habibion, Michael Jaworski, James Canty and Matt Schulz—opening. MAGNET photographer Chris Sikich was there and came away realizing this is harDCore circa 2019.

SAVAK

Arc Iris, Great Time, Square Peg Round Hole

Providence, R.I.’s Arc Iris made its way down I-95 last week to Philly’s Milkboy on tour to promote latest album Icon Of Ego (Ba Da Bing). The trio, led by Jocie Adams (ex-Low Anthem), shared the stage with local openers Great Time and Square Peg Round Hole. MAGNET photographer Chris Sikich was there to witness this indie prog-pop extravaganza.

Great Time
Square Peg Round Hole

Pylon Reenactment Society, THICK And KAG Kick Off The New Year In Brooklyn

We took preventative measures before our annual case of the “January blues” fully kicked in: this awesome triple bill at Market Hotel in Brooklyn. First up was D.C.’s KAG (a.k.a. Katie Alice Greer of MAGNET fave Priests), followed by hometown heroes THICK and, finally, Athens, Ga.’s Pylon Reenactment Society, led by former Pylon frontwoman extraordinaire Vanessa Briscoe Hay. MAGNET photographer Chris Sikich came in from the cold to enjoy this hot, hot rock ‘n’ roll heat.

Winter Jazzfest 2019: Where No Jazzman Has Gone Before

Gary Bartz

It’s the 15th annual Winter Jazzfest. MAGNET’s Mitch Myers discovers that space still is the place. Photos by Dave Kaufman

With Winter Jazzfest celebrating its 15th year running, it must be said that the nine-day celebration (January 4-12) fulfilled its promise and function, delivering a wide range of new-music showcases in variety of downtown venues including its trademark marathon weekend hosting a legion of talented and innovative musicians. The conscious jazz community that presides over this festival does its level best to keep things moving in a positive direction. This year’s artist-in-residence was Meshell Ndegeocello, there was a panel covering the legal realities of being a working musician and another discussing jazz and gender. 

In terms of programming, there certainly was something for everybody. Early in the week, the Bad Plus, Terrance Blanchard and Terri Lyne Carrington played at (Le) Poisson Rouge, and BBC Music Introducing hosted a nightlong showcase of British jazz. While both of those showcases were actually kind of a snooze, Medeski Martin & Wood got it together for a rare and special gig out at Brooklyn Steel with orchestral-jazz collaborator Alarm Will Sound. 

One of the mid-week highlights—and the main show I want to mention—was veteran alto saxophonist Gary Bartz celebrating the 50-year anniversary of his interstellar album Another Earth at (Le) Poisson Rouge. That recording was Bartz’s second LP as a leader and released on the Milestone label. By that time in 1968, Bartz had already played with jazz giants like Charles Mingus, Max Roach, Art Blakey and McCoy Tyner.  Not long after this recording, the dark prince himself Miles Davis drafted Bartz into his touring band and they played at the Isle Of Wight festival in 1970. Recordings of that band live at the Cellar Door in Washington, D.C., were first released by Davis as Live-Evil in 1971. Check that stuff out for sure.

Anyhow, Bartz’s collaborators on Another Earth included trumpeter Charles Tolliver and fiery saxophonist Pharoah Sanders, as well as pianist Stanley Cowell, bassist Reggie Workman and drummer extraordinaire Freddie Waits. At (Le) Poisson Rouge, Bartz was again joined by Tolliver and Sanders and accompanied by bassist James King, guitarist Bruce Edwards and another drummer extraordinaire: Nasheet Waits (Freddie’s son!). This was an ideal setting for a seasoned pro like Bartz, allowing him to stretch out with old comrades on the blueprint of space-age material they’d mapped out and documented so many decades ago.

Pharoah Sanders

As a prelude to the songs from Another Earth but in keeping with its cosmic theme, Bartz and his rhythm section broke out a swaying samba arrangement of Alexander Courage’s “Theme From Star Trek,” which had been originally titled “Where No Man Has Gone Before.” Bartz’s sharp-edged saxophone was able to thrust and parry around the memorable melody all by himself, but after Tolliver and Sanders finally joined Bartz onstage, they burned through their old album’s lengthy title track, followed by “UFO” and Kurt Weil’s classic “Lost In The Stars.”

Bartz and Sanders (ages 78 and 79, respectively) both evoked the sound of John Coltrane at times, playing their spiritual jazz-and-fire music with Sanders especially ignited and aimed straight at the heavens. Tolliver was facile but more tentative than the two saxophonists, but when the three men converged at center stage, it was a heartwarming, exciting and joyful moment that I don’t think we’ll ever see again. 

After the album’s closing number “Perihelion And Aphelion” the entire band encored with an expanded reprise of “Theme From Star Trek” and all was right with the world, and the universe beyond.

Also a standout was guitarist Miles Okazaki at the SoHo Playhouse on Friday night, performing selections from his amazing solo rendering of the complete Thelonious Monk composition catalog: Work. Okazaki played his entire set without stopping, except when he accidently pulled the cord out of his guitar. Okazaki’s grasp of Monk’s compositions was evident and impressive, and he got deep inside these deceptively playful tunes.

Special Mention: R.I.P. Joseph Jarman—saxophonist, medicine man, Buddhist tone poet and longtime member of the Art Ensemble Of Chicago—who died on Wednesday. His life accomplishments are too numerous to mention here, but look for the many remembrances and testimonials please. 

Ancient to the future!

Philly’s Punk Permutations With Mothers, Empath And Corey Flood

One of our New Year’s resolutions was to shop local more often, and we did just that last week with the awesome triple bill of Mothers, Empath and Corey Flood. The three Philadelphia bands all brought their distinct sounds (Mothers’ post-punk, Empath’s psych punk, Corey Flood’s dark punk) to Johnny Brenda’s, and it was a hometown hootenanny of the highest order. MAGNET photographer Chris Sikich was there to savor what makes Philly special.

Empath
Corey Flood

Joseph Arthur Brings His Sound And Vision To Philadelphia’s Locks At Sona

While most of us have trouble walking and chewing gum at the same time, multitasking doesn’t seem to be a problem for Joseph Arthur. So it’s not surprising that he’s found a way to combine his two passions—music and painting—onstage. For an end-of-the-year show at Philly’s the Locks At Sona, the NYC-based Arthur not only played a 23-song set, he also showed off his visual-art chops. MAGNET photographer Chris Sikich was there to capture these portraits of the artist as a music man.

Philadelphia’s Japanese Breakfast Serves Up Three Hometown Shows To End The Year

Philadelphia is very proud to count Japanese Breakfast’s Michelle Zauner as one of our own. Before Zauner and band head out for live dates that will take them from Brooklyn to Barcelona and bars in-between, JB (Japanese Breakfast) played three year-ending hometown gigs at JBs (Johnny Brenda’s). (Brooklyn’s Gabby’s World opened all three nights.) MAGNET photographer Chris Sikich was at the first show to feast on Japanese Breakfast’s sounds from another planet.

Gabby’s World