We spent yesterday afternoon at the 56th annual Newport Jazz Festival. I was very excited about this year's lineup, which was even more adventurous than last year. The first concert that we checked out was the Dave Douglas Brass Ecstasy quintet. I saw Douglas play with his Tiny Bell Trio about 12 years ago and I was really impressed, but with the exception of a couple of Masada records, I haven't paid too much attention to his work since then. I really liked their show, and especially liked the songs where Douglas really got to shine. My favorite numbers were a couple of original compositions dedicated to and in the style of two great jazz trumpeters (Enrico Rava and Lester Bowie).
Next up was the most anticipated show of the festival, Powerhouse Sound. I wasn't sure which version of the band was going to be appearing, but I was excited to see Jeff Parker walk out on stage, as I've been an admirer of his work for years but have never had the chance to hear him perform. Ken Vandermark lead the band along with longtime collaborator Nate McBride on electric bass and John Herndon on drums. While this was my favorite show of the festival, I didn't enjoy it as much as I had hoped. The first problem was the sound. It was really hard to hear Vandermark (who played tenor exclusively for this show) over his electrified colleagues. As Vandermark tweeted earlier today, the entire set was very intense. I thought it got to be a bit much at times. They did mellow out a bit in the final third of their set and delivered a stunning rendition of the trippy dub-inspired "Coxsonne".
The crowd was sparser than last year's Vandermark 5 performance (I'm sure overlapping with the Wynton Marsalis show on the main stage this year didn't help). I was a bit disappointed that Ken didn't take any breaks between the songs to announce their titles or the band members. It also pains me a bit to admit that I wasn't a big fan of Herndon's work on the drums. Until I sat down to write this post, I didn't realize that he's the drummer for Tortoise, one of my favorite bands. His drumming took the music into a more rock-oriented direction, which I felt was unnecessary with Parker and McBride already pulling the band that way. Powerhouse's other lineup features Paal Nilssen-Love on the drums and I think I would have enjoyed his sound better.
The final show, pianist Jason Moran was most pleasant surprise. His band played a good mix of originals and reinterpretations, including a stellar rendition of Monk's "Crepuscule With Nellie" to close their set. It was good, solid jazz and Moran's work on the piano was always compelling and even a bit unconventional while still staying inside of a fairly conventional straight ahead jazz framework.
The 2010 Newport Jazz Festival lineup was just announced. I'm pleased to see that last year's nod to the adventurous side of the genre wasn't a fluke. I'm very pleased to see that Ken Vandermark was invited back, this time with his Powerhouse Sound ensemble. I'm really looking forward to seeing them live in concert for the first time. Some other notables are Marshall Allen-Matthew Shipp-Joe Morris, the Matt Wilson quartet, and Herbie Hancock (all slated to perform on Sunday, along with Powerhouse Sound). I know where I'll be on August 8th.
We tried Dakar, a new Senegalese restaurant in Central Falls last Friday before going to see The SantaLand Diaries at the Gamm Theater. There aren't a lot of dining choices near the Gamm, so Dakar is a nice addition to the area. We had the place to ourselves once the couple that was dining when we arrived left, which is never a good sign for a restaurant on Friday night (or any other night), but the food and the service was good. Our waiter (who was also the host, bus boy, and possibly, the chef) greeted us by asking if we had ever been the Senegal. It was nice that he didn't assume we had never visited his home country (though we haven't), even though it's a place that most Americans have never even heard of.
As for the food, I really liked the ginger juice. It was very strong, but I love ginger and ginger-based drinks especially. I also enjoyed the Naem appetizer that we tried. They are Senegalese-style egg rolls and according to our waiter, they were brought back to Senegal by soldiers who fought for their colonial power (France) in Vietnam. Regardless of how you feel about colonialism, we can all agree that is has given us some great fusion cuisine. I had the Lamb Yassa for dinner. The lamb was a bit on the dry side, but the dish still had a lot of flavor.
I haven't eaten much African cuisine, but my meal at Dakar was one of my favorites. Hopefully the next time we eat there, we won't be the only patrons.
This ad has been up for for several months now, but it raises an important question - is Mad Men no longer cool now that's it's being referenced in a Cardi's Furniture advertisement?
I've seen this commercial for KFC's latest menu item a few times so I assumed that it was taking American by storm. I learnedtoday that this new culinary creation is currently being test marketed in Providence and Omaha, so I'm one of the lucky few able to experience the deliciousness of the Double Down, which is ostensibly a bacon and cheese sandwich with a bun made out of boneless pieces of fried chicken. For the record, I have yet to try one and have no plans to do so. My lack of interest may lead directly to the Double Down not testing well enough to merit a nationwide release, but it's a chance I'm willing take.
Normally, this is where I would go into full snark mode, but after The AV Club called it "the Reichstag fire of health care reform", I don't think there's anything else that can be said. I hope that I have an opportunity to use that analogy somewhere else, though. But is the Double Down really that bad? The concept seems a little dated. The bun-less sandwich sounds like something straight out of the Atkins craze of a few years back. The bacon seems forced, and I feel like the current incarnation of the add bacon to everything craze is starting to fizzle out. Other than that, I don't see how this is much different than other items on the menus of America's fast food restaurants. Don't get me wrong, the Double Down is kind of disgusting and definitely not something you should eat on a regular basis if you care about your health, but it isn't a new low in the field of culinary arts.
Case in point, last night I dined on some deep-friend clam-infused dough balls. Clam cakes, as they're usually known in these parts, are a Southeastern New England institution and a staple of seaside seafood shacks. Clam cakes have a better name than the Double Down and a simplicity that makes the Double Down look even more thrown together by comparison, but are they really all that different? If clam cakes can be considered a classic comfort food cherished across generations, can the Double Down really be considered a harbinger of the end of the times?
Restaurants need to innovate in order to attract customers. For fast food restaurants, that means either offering more calories per dollar than their competitors or combining a limited set of ingredients in new ways. Most innovations across the food service industry will be forgotten as quickly as they appear. A select few will become part of humanity's culinary lexicon for a few years, a few generations, or, if they're really good, forever. I'm not predicting that every greasy spoon will someday serve a version of the Double Down, I'm just saying that the difference between a beloved culinary institution and an affront to good taste on a plate is smaller than we think.
I was disappointed to see that RIPTA has discontinued their seasonal bus service from the Newport Visitors Center for Fort Adams. Even in these times of challenging state budgets, it's an embarrassment for city like Newport that relies so heavily on tourism to lack a public transport option from its downtown to one of its most popular attractions.
That being said, the water taxi that I wound up taking from Perrotti Park to Fort Adams was quite nice.
This was my first visit to Fort Adams, and I was really impressed with it. I'll definitely be going back some weekend when it's not playing host to a music festival to check it out.
There was no shortage of booths selling handicrafts at the festival, but I didn't see any selling recordings. Jazz fans are notorious record collectors so I was surprised to see that there wasn't even a tent selling recordings of the featured musicians.
My favorite show other than the V5 was the Christian McBride trio, which kind of surprised me. It wasn't anything earth-shattering, just really good and straight-ahead jazz. I was looking forward to Vijay Iyer's show, but with the exception of their last number, I couldn't really get into any of their tunes.
NPR music was at the festival and has made many of the concerts available for download (not the V5's set, unfortunately)
The ProJo mentioned the V5's set in their review today:
The Vandermark 5, a group of young Chicagoans, started the process with a mix of wailing horns, cello and bowed acoustic bass, completing the demolition on their final song as the second-stage crowd roared. “Some people probably hated it,” said cellist Fred Lonberg-Holm, “and some people have told us it was their favorite thing of the festival so far.”
I've never bothered making the trip down to Newport for its iconic jazz festival because, like most big jazz festivals, it tends to feature lowest common denominator acts that play the same old tunes year after year. Newport Jazz impresario George Wein decided to do something about that this year, as this article from the Boston Globe back explains. This year's line-up is fairly impressive, but the Vandermark 5 alone was worth the price of admission for me. Alas, I was not disappointed.
One of the great things about Vandermark is he never talks down to his audience. When I saw him play with School Days at SXSW in 2001, they played a couple of old Archie Shepp and Roswell Rudd songs and he dutifully announced the song titles and composers to the crowd despite the fact that most of them were there for the punk rock act that followed them and most certainly had never heard of Shepp or Rudd (or Vandermark, for that matter). The Vandermark 5, as far as I know, only plays original tunes, so there was no free jazz history lesson going on, but their song selection was in no way pandering to the audience in Newport.
Simply put, their set rocked - literally and figuratively. I don't think I've ever heard them play a set as hard-hitting as the one they played in Newport. The first number that they did started out on a rocking note with Fred Lonberg-Holm playing a great serpentine cello solo against the bass and drums before Vandermark and Rempis joined in on tenor and alto saxes, respectively. Vandermark played tenor for most of the set. He occasionally picked up the clarinet, but his bari was not on stage. His most impressive solo was during the most subdued number of the set, Early Color, but all of his solos were strong. The band sounded really tight. It probably helped that most of the songs were from their forthcoming album, but still, it's pretty amazing to watch a band playing music that is both highly improvised and very precise at a breakneck pace stick together as well as they did.
I was quite impressed with the crowd; at its peak, it was standing room only. Vandermark appeared to share my sentiments, as he spent most of his time between numbers thanking the crowd and George Wein himself, who was on hand for most of their set. The biggest crowd pleaser of the day was Cement, a cacophonous song that was let off by Tim Daisy and featured some devastating hooks in addition to a Vandermark-Rempis tenor sax tête-à-tête.
The few times I've seen Vandermark play in front of a so-called crossover audience, he's been incredibly well-received and this show was no exception. While it's never going to be considered mainstream, this is music that adventurous ears are ready for, even if they aren't particularly attuned to jazz. Hopefully, the Vandermark 5's first US jazz festival appearance won't be their last.
We went to check out a small exhibit chronicling the early history of Chinese restaurants in Providence at the Johnson & WalesCulinary Arts Museum. The three restaurants profiled were all long gone before I arrived in Rhode Island, so I don't have any memories of dining at them, or any other old time Chinese-American restaurants for that matter. Still, it was an interesting exhibit. My favorite part was an old newspaper ad from one of the three restaurants (Mee Hong, I believe). There wasn't a date on the clipping but it appeared to be from the 1960s. The ad was targeting local college students and listed each of the local schools along with a selling point for the students at that institution. I don't remember each of the selling points verbatim, but they boiled down to the following:
Brown: Authenticity
RISD: Decor
URI: Value
PC: Alcohol
Bryant: American-Style Food
RIC: Highchairs
40+ years later, the ad probably still resonates pretty well with its intended audiences.
Here's a quote from today's ProJo cover story from Christopher Plante, director of Rhode Island's chapter of the National Organization for against (same-sex) Marriage. It's a great quote because it works no matter how you feel about marriage equality.
“It is amazing that four centuries after Roger Williams founded this great state on liberty and individualism, Rhode Island again stands alone in New England, holding back a tide of cultural revolution and belief that would radically change our families and communities"
I agree that it is amazing that Rhode Island is honoring its heritage of liberty by denying equal marriage rights to all of its citizens - amazingly bad. I also agree that granting same-sex marriage rights would definitely change our families and communities - for the better.
We dined at the Garden Grille [warning - audio link] for the first time on Friday. I was quite impressed with my meal, the Mixed Grille. I've had dinners that were entirely comprised of meat and I once had a dinner in Kyoto that was comprised almost entirely of tofu, but I think Friday was the first time I've ever had a dinner that was entirely comprised of vegetables. I had a plate asparagus, eggplant, sweet potato, onions, peppers, squash, and mushrooms all grilled to perfection. Highly recommended.
Today's Providence Journal ran a story about Rhode Island's quest to grow its knowledge-based economy and included a photo of yours truly from last week's Providence Geeks meeting on the front page. This marks the second time that my picture has shown up in a geeks-related news story. So far, I've managed to avoid letting all of this fame go to my head, but I can't guarantee that I won't turn into an insufferable prima donna if this keeps up.
We went to the newly renovated RISD Museum today to check out the Dale Chihuly exhibit. Chihuly is a pioneer in the field of glass art, and most of the pieces on display in this exhibit were glass sculptures and installations. One of the challenges of modern art appreciation is dealing with all of the non-traditional media and structures used by contemporary artists. Paintings, sculptures, and decorative arts have been around forever and it's easier to comprehend modern approaches to these artistic traditions even when they veer into abstraction. When looking at works that use different forms and media, it's sometimes hard to figure out what you're looking at.
Chihuly's work seems to fall into the second category in that it's not a literal representation of the physical world and it's in a non-traditional medium (at least, for sculpture), but it's still quite accessible. All of the pieces in the exhibition were very organic; they either used or suggested natural forms, such as flowers, plants, and trees. If nothing else, his bold use of color gives most of his works a strong enough visceral appeal that a thorough study of 20th century art is not required to form an opinion about his works. In addition to the installations, the museum also had works from several of Chihuly's students and contemporaries on display. I really liked that and think it's a good idea for art exhibitions in general because it's a good way to see how artists influence each other.
Trader Joe's recently opened their first store in the state of Rhode Island. We checked it out shortly after the grand opening and I picked up a loaf of their three seed and honey bread, and it is really good. It's the first bread that I can ever remember eating that has fennel seeds on it (the other two seeds are poppy and sesame). I think the fennel works really well, but I may not be the most objective observer, since I basically love fennel in anything.
This story is a couple weeks old, but I couldn't resist commenting on it. The NBC affiliate in Providence did a story where they called the Rhode Island Department of Tourism's toll-free number and asked a variety of rudimentary questions about Rhode Island and discovered that the people answering the calls knew next to nothing about the state. For example, when asked where one could find a good Italian meal in Rhode Island, the operator recommended the Olive Garden in South Attleboro, MA. The calls were being handled by a call center in Kansas City, MO so it's not surprising that the people fielding them knew nothing about Rhode Island.
In defense of the Department of Tourism's outsourcing choice, the toll-free number is not designed to be a tourist hotline; its only purpose is to allow potential visitors to request a travel guide. That being said, they probably should set up a second level of support staffed by people with local knowledge to assist callers who had questions about their visit to Rhode Island.
