Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts

Friday, October 16, 2015

Book Review: Musicophilia: Tales of Music and the Brain by Oliver Sacks



Musicophilia: Tales of Music and the Brain

Author: Oliver Sacks
Publisher: Knopf Doubleday Publishing Group
Date of Publication: September 23, 2008
Pages: 425



     Oliver Sacks died this past August at the age of 80.  He was a professor of Neurology at New York University and is best known for his essays and books related to many of the fascinating clinical problems he observed during his long career.  His 1973 book Awakenings, an auto-biographical look at post-encephalitic patients becoming "unlocked" after doses of L-Dopa, was developed into an Oscar-nominated movie starring Robin Williams and Robert De Niro.  Musicophilia was originally released in 2007.  In this intriguing book Oliver Sacks explores music as part of disease processes and, further, as part of treatments for other disorders.  

     The book opens with a case study of an orthopedic surgeon struck by lightning who became obsessed with piano music and learning to play the piano.  This physician "once an easy-going, genial family man, almost indifferent to music - was inspired, even possessed, by music, and scarcely had time for anything else."  He eventually loses his family and job because of his obsession.

     Many more case studies follow, including patients with musical seizures, musical savants, stroke and dementia patients.  The sections on patients with profound neurological deficits who maintain their ability to play and appreciate music are fascinating.  The author tells all of these stories with grace and style, managing to entertain as well as educate the reader.  Much of the current understanding of complex neurologic syndromes comes from modern functional brain imaging.  These techniques have been used to map the brain and define which areas of the brain are responsible for musical ability, learning and appreciation.  This data is included in the discussions of the disorders.

    Sacks deftly explains the rationale for music therapy, explaining how the astute therapist can manipulate functioning areas of the brain.  Music therapy can be used in motor disorders such as Parkinson's disease to reduce uncontrollable movement and can also be used in dementia patients to calm and ease the distress which many of them suffer.  The author states:

"As music seems to resist or survive the distortion of dreams or of Parkinsonism, or the losses of amnesia or Alzheimer's, so it may resist the distortions of psychosis and be able to penetrate the deepest states of melancholia or madness, sometimes when nothing else can."

     I can truthfully say that I remember very little neuro-anatomy or physiology from medical school.  Also, much has changed in the decades since I last was exposed to any of this.  This book helps explain many very complex medical issues and engenders a true appreciation of the complexity of neurologic and psychiatric conditions.  The role which music can play in the pathophysiology of disease as well as in the treatment plan for many disorders was a revelation to me.  Musicophilia is packed with compelling information and was a joy to read.

Monday, August 18, 2014

Jimmy Buffett - Bristow, Virginia August 16, 2014



Jimmy Buffett
And the Coral Reefer Band

Bristow, Virginia
August 16, 2014


     You would think that after all of these years crooning about cheeseburgers and margaritas that Jimmy Buffett would be mailing it in by now.  Nothing could be further from the truth.  The man still delivers a high energy, top-notch performance.  His band was particularly sharp on this cool and breezy August night in Northern Virginia.  Jimmy was in fine voice as well.

     He opened the show with a rousing version of Jimmy Cochran's "Summertime Blues" and then immediately hit the high note with crowd favorite, Van Morrison's "Brown Eyed Girl".  This featured the band bouncing up and down in unison during the "La-la-la-la-la-la" parts.  If anyone in the crowd wasn't into it by then, there was something very wrong with them.

     The band segued through an entertaining set of old songs, new songs, country songs and even a virtuoso instrumental by Mac McAnally.  One of the highlights for me was the introduction of Brendan Mayer, son of long time Buffett guitarist Peter Mayer.  Brendan displayed his considerable guitar chops on several songs and was featured on his own composition "Something to Say".  Jimmy migrated to the rythym section to play tambourine on that one!

     My favorite tune was the Stephen Stills composition "Southern Cross".   We saw Jimmy
Buffett in Las Vegas several years ago and this was one of the encores.  Jimmy used it this time to get the crowd into a frenzy for the big finale: "A Pirate Looks at Forty" followed by "Fins" and, of course, "Margaritaville".  This show's encore including "It's Five O'Clock Somewhere" with "Let's Get Drunk" mixed in was well received and everyone left very happy.

     This show had a different vibe than the Vegas show we attended in 2011.  The crowds were both energetic, but the Virginia crowd seemed to have more families and younger adults.  Jimmy Buffett has managed to transcend generations and genres and attracts a very diverse crowd.  There was a fairly large contingent of the grey haired set, myself included.  The lady next to me was alternating sips of beer with puffs on an Albuterol inhaler.

     My wife made the comment that a Jimmy Buffett show is not really a concert - it's a giant party where Jimmy Buffett shows up.  You have to admire the man for finding his own unique style and sound, sticking with it, perfecting it and turning it into a franchise.  For a guy known more for party anthems though, his ballads and musicianship are quite remarkable.  His ability to work a crowd is unparalleled.  I enjoyed Jimmy's reminiscences of playing The Cellar Door in Georgetown in his early days, being the first show at this venue and also playing at the White House.  

     My days of driving three hours to and from a show, fighting crowded parking lots and standing (and jumping and dancing) for several hours may be winding down.  This is one performer that I would still go through all of that to see.  It was a lot of fun, which I think, for Jimmy Buffett, is the point!  Thank you, Jimmy Buffett and the Coral Reefer Band, for entertaining us for all of these years and keeping it fun.


Saturday, July 26, 2014

John Hiatt and The Combo with The Robert Cray Band

John Hiatt, Richmond, VA
July 23, 2013


John Hiatt and The Combo

The Robert Cray Band

Innsbrook After Dark
Richmond, Virginia
July 23, 2014






The Robert Cray Band

John Hiatt and The Combo


     This was a blistering hot show on a muggy evening in Richmond, Virginia.  It was a night we Southerners call "close".   It was 98 degrees when the gates opened and besides an occasional breeze, it remained warm all night.  Fortunately both acts weathered the heat well and gave outstanding performances.

     The Robert Cray Band was a revelation to me.  I have a couple of the band's CDs, but never have had a full appreciation for what a fantastic guitarist Robert Cray is.  He weaves jazz chord progressions, effects, melody lines and bass runs together and creates blues masterpieces.  He also does this full chord vibrato thing that is something to behold.  He had the crowd with the opening chords of "Phone Booth" and never let go.  His voice is soulful and fine and complements his guitar stylings.  The band is very tight with drummer Les Falconer and bassist Richard Cousins keeping a steady groove and keyboardist Dover Weinberg adding plenty of blues with his piano and organ accompaniment.  The Robert Cray band opened early at about 6:20 PM and played a full hour and twenty minute set.  










     John Hiatt is one of my all time favorite singer-songwriters and someone I travel to see frequently.  I love his lyrics, his funky rhythms and his aw-shucks charm.  I have seen him solo, backed by the North Mississippi All-Stars and now with several iterations of "The Combo".  John Hiatt is like your favorite pair of sneakers or sweatshirt - the more you have them and the more "broken in" they get, the more you never want to part with them.   Each John Hiatt show is unique but each show guarantees fabulous entertainment.  This show was near the beginning of this tour supporting a new CD entitled "Terms of My Surrender".  He played three of his new songs including the title track which includes the instant classic Hiatt lyric "Love can go so very wrong, like a fat man in a thong."

     The highlights for me were the opening number "Like Your Dad Did", a rousing "Cry Love" featuring guitarist Doug Lancio on the mandolin and a super funky "Memphis in the Meantime."  The rendition of "Feels Like Rain" was also fantastic, starting with a Hiatt monologue about snuggling and spooning while a summer rain hits a tin roof.  He finished the song whispering the lyrics.  John Hiatt was at his funky best at this show, his voice in fine form and his band hitting on every note.  A noise ordinance limited his encore set to a wonderful full-band rendition of "Have a Little Faith in Me."

    It was a great night, despite the heat, in Richmond.








Tuesday, September 3, 2013

The Beach Boys, Charlottesville, Virginia



The Beach Boys

nTelos Pavillion
Charlottesville, Virginia

August 28, 2013



     These weren't your father's Beach Boys.  The band that played in Charlottesville on August 28 included founding member and lead vocalist Mike Love and Bruce Johnston (who replaced Glen Campbell in the band in 1965).  The rest of the band has been touring with Mike Love as The Beach Boys for years and upheld the traditions of the original band quite well.
   
Mike Love
     
 

                                            

                                                                        

     This was not the usual rock band crowd, either.  The fellow in front of me had two hearing aids.  The guy next to me had a cane.  I'm not so young or spry anymore myself.  There were some young people present.  At one point I looked around and a twenty-something-ish couple were standing with puzzled grins.  I could only guess what they were thinking:  “Why are all of these old people jumping around singing ‘Help me, Rhonda.  Help, help me Rhonda”?

                                                                                                      

    The band played for over 2 hours, unleashing medley after medley of immediately recognizable riffs, chord progressions and harmonies.  Everything was pitch-perfect and the audience reaction and participation was enthusiastic.  Everybody, it seemed, knew all of the words to all of the songs.  Play beach music and it's hard to keep a bunch of Baby-Boomers, no matter how infirm, from dancing!

     It’s totally unfair to any band to compare their performance to Paul McCartney, but, since Sir Paul’s concert in Washington, D.C. was the other show we have seen this summer, I can’t help but do this.     This show was Mike Love, Bruce Johnston and a bunch of guys that sounded a lot like The Beach Boys, while the other was Paul McCartney and a bunch of guys that sounded a lot like The Beatles.  Certainly both acts displayed a tremendous level of professionalism and musicianship, but Paul McCartney is in a class by himself.  The difference really was the music.  Both sets included songs 50 years old or older.  McCartney’s, however still sounded relevant, innovative and fresh.  The Beach Boys provided a classic nostalgia-fest and recreated an era with precision and gusto, but it really was just that – a re-creation of and a testament to a more naïve and simpler time of fast cars, pretty girls and good times at the beach.  There's absolutely nothing wrong with that, I had a blast and would go see this group again in a second!











Friday, February 8, 2013

Marty Stuart and The Fabulous Superlatives, Lynchburg Academy of Fine Arts, February 7,2013




Marty Stuart and The Fabulous Superlatives

Lynchburg Academy of Fine Arts

February 7, 2013

     It's always a great treat to attend a show and see professional musicians playing with a high degree of precision and musicianship and seemingly enjoying themselves just as much as their audience.  That's exactly what happened last night at Lynchburg's Academy of Fine Arts when Marty Stuart and The Fabulous Superlatives played to a sold-out house of country music fans.  

     The set list included Marty Stuart greatest hits ("The Whiskey Ain't Workin'"), country standards ("I'm So Lonesome I Could Cry" was one of the encores). Bluegrass and Gospel ("Workin' on a Building").  The other band members are accomplished musicians and vocalists in their own right.  The Fabulous Superlatives include "Apostle Paul" Martin on bass, "Cousin" Kenny Vaughn on the "Sparkly Silver Telecaster" and "Handsome Harry" Stinson on drums.  All contributed on vocals with Stuart, Stinson and Martin producing some amazing, pitch-perfect three part harmonies.  One of the really cool things about Marty Stuart is that he seems very comfortable with taking a back seat and letting each of his band mates shine.

     This was an inspired show by a true country super-star and his top notch band.  Kudos to the leadership of the The Lynchburg Academy of Fine Arts for bringing this level of entertainment to our town.  The absolute most fantastic part of the show was only having to drive five minutes to get home and not the usual 90 minutes from Charlottesville or Roanoke!

     Go see Marty Stuart and The Fabulous Superlatives if you get the chance.  You will have a rocking good time and see a first class show!


Left to Right: Kenny Vaughan, Marty Stuart, Harry Stinson, Paul Martin

Harmony on "I'm Working on a Building"

 
Going to town on the mandolin






Tele originally owned by Gram Parsons

Friday, July 6, 2012

Crosby, Stills and Nash at nTelos Pavilion, Charlottesville, Virginia, July 5, 2012




Crosby, Stills and Nash
nTelos Pavilion
Charlottesville, Virginia
July 5, 2012

"We can change the world
Rearrange the world" 
- CSN, "Chicago"


     Those of us in the grey hair population remember when we actually thought that was true.  Crosby, Stills and Nash were our spokespersons, our conscience, our collective soul.  They gave voice to a generation of war protesters, environmental activists, optimists and romantics.  Their art was (and, amazingly, stil is) more than their music.  They were relevant, important and vital.


      I have several vivid memories of this group:

1) I remember standing on a dock at the old Tidal Basin Boat Center in Washington, D.C.  where I worked summers and hearing "Ohio" for the first time on the radio.  All activity stopped while we listened to the angry rage of that song, released only weeks after the Kent State student killings.  We all felt this but CSNY put it out there in such a forceful and undeniable way. 
2)  I saw their performance (again with Neil Young) at the old Capitol Center in Washington, D.C. in 1974 which was about two or three days after Richard Nixon resigned because of the Watergate Scandal.  That was a show that is forever etched in my memory, especially the all out Stills-Young jams on "Carry On" during a lengthy encore.

3) I recall being stunned by the beauty of the vocal harmonies when the "Crosby, Stills and Nash" album was released and then being even more blown away by the follow-up "Deja Vu". 

So, it was with great mixed emotions that I purchased tickets to this show.  Would they be a shell of their former selves, resurrecting a tour to cash in on boomer nostalgia?  Would this be a "mail it in" performance of rehashed oldies but goodies like those awful rock and roll oldies videos played on NPR during their fund drives?  Or, would this somehow be a rekindling of the spirit of the '60s?  I figured it was worth the price of admission to find out.

    It was miserably hot in Charlottesville on July 5th.  The heat index was over 100 at show time.  nTelos distributed paper fans to help people cool off.  A bottle of water, though, was still $3.00.  The weather conditions were, in a word, oppressive. 

     Show time was 7:00 P.M. and there was no advertised opening act.  At about ten minutes after the hour David Crosby, Stephen Stills and Graham Nash walked on the stage unannounced and without fanfare.  Their band followed.  They picked up their instruments and boomed into "Carry On" - the same song I remembered from so many years ago.  It was obvious from this beginning that this night belonged to the Rock and Roll Hall of Famers and was going to be special.

     They played an extensive set list over nearly three hours (with one brief intermission).  They incorporated all of their hits as well as the great songs from their solo careers.  They dipped deep into their collective repertoire for such gems as Buffalo Springfield's "Bluebird" (juiced up by some great guitar playing from Stills), Crosby and Nash's "Wind on the Water" and finishing their first set with a rollicking kick-butt version of Stills' "Love the One You're With."

     The highlights (of which there were many) were from the CSN and Deja Vu albums:  "Helplessly Hoping", "Marakesh Express", "Our House" (with robust audience participation) and "Guinnevere" to name several. They validated their ongoing social consciousness with rousing renditions of "Chicago" and new songs dedicated to Bradley Manning, the U.S. Army private who leaked government secrets to Wikileaks and "In Your Name", a new Graham Nash tune which is a prayer asking God to stop the "killing in your name".  


    David Crosby really let loose in "Almost Cut My Hair".  During that song, the impossible happened.  I guess it was when Crosby bellowed/sang/screamed "I guess it was because I had the blues for Christmas" there was a time warp and it was indeed 1970 again.  I wanted to "let my freak flag fly" like Crosby, whose long, flowing white hair was billowing in the artificial wind created by an onstage fan.  The finale was a rousing "Wooden Ships" with Stills using every effects pedal known to man and destroying the whammy bar on his Stratocaster.  


     The encore was an acoustic "Suite: Judy Blue Eyes" with Stills acoustic/electric  solo leading into a full band final last verse and chorus.  This was a fitting ending to a memorable evening of music.


     Sure, there was an occasional technical lapse -  a missed solo entrance here, a slight missed harmony there, but give these guys credit.  The temperature was in the 90s for the entire show and probably hotter on stage.  These fellows aren't exactly spring chickens anymore either.  Crosby even quipped early on that we may be the audience "that gets to finally see us carried off a stage."   But for 180 minutes, Crosby, Stills and Nash turned back the clock and reminded us of when music meant something more than the bottom line on a spread sheet.  They entertained and mesmerized their audience.  They actually made me feel eighteen again, if just for a moment.  They gave a great performance for the ages under lousy conditions and, somehow, seemed to enjoy it.  They deserve to be the Hall of Famers that they are.


(Note: This was another "No Camera" event at the Charlottesville nTelos Pavilion.  I have alluded to this in previous post.  The folks at this venue have taken this to a new level, however and it is obnoxious.  The ushers climb over seats and yell at audience members who dare to brandish a smart phone or digital camera.  I did sneak the one photo during the encore, but would have really liked to have taken some more photos with a higher quality camera.  I think that Crosby, Stills and Nash should write a new song about the photo Nazis at the concert venues where they perform.)