2016 Top 10: Associate Editor & Writer Roger Romero

Source: YouTube

Roger Romero is a killer writer, editor and musician, lending his talents to Found Sound and East End Mile. Plus, he has a fantastic, eclectic taste in music that covers everything from jazz to pop and hip hop. Last year might be over, but its music endures. Read on for Roger's record recommendations and take the good parts of 2016 with you into the new year.

1. Emily's D+Evolution – Esperanza Spalding

This album is, to me, the pinnacle of musicianship. Esperanza Spalding single-handedly morphed my perspective on what it means to be a musician while simultaneously blowing my mind with her talent. The live performance of her album is her own unique vision of a musical; Spalding assumes the lead role and plays the crap out of a concert at the same time. It's an epic and visceral experience. 

2. Malibu – Anderson .Paak

Another artist whose talent knows no bounds. He's so cool. He's got serious chops as a performer (on drums), rapper, singer and producer. I respect this man so hard. I'm grooving to Malibu constantly. Listening to Anderson .Paak is just part of my day-to-day now.

3. Blonde – Frank Ocean

There are so few works that are as vulnerable as Frank's record this year. After waiting forever, this record didn't disappoint.

Solo

Frank Ocean

4. Purpose – Justin Beiber

This album was my guilty pleasure listening at first. Soon enough, though, I got over myself and realized that the production and songwriting for the record was on point and that I shouldn't feel ashamed for loving it.

5. A Seat at the Table – Solange

The second I heard this, I was fascinated by Solange as a singer, producer and a songwriter. I hadn't heard a single thing she'd created before, and then suddenly she was one of my favorite artists. 

6. In the Magic Hour – Aoife O'Donovan

I think her voice is literally made of angels. It's as close as a voice can get to perfection, in my eyes. Her songwriting is stronger than ever in this record. I find myself constantly going back to Aoife O'Donovan for the how emotionally relatable her sound is.

7. EROS – Omar Sosa & Paolo Freso

I found this recording through randomly reading jazz album reviews in Downbeat. It's free-flowing, unique, engaging and unremittingly beautiful

8. Art Science – Robert Glasper Experiment

I've been a huge fan of Robert Glasper for a long time, so I had huge expectations for this release. Every member of Glasper's band shines through this album. They have solidified their already distinctive sound and approach while adding personality to each track.

 9. 99.99% – Kaytranada

I had an idea who Kaytranada was, namely because I heard that he was working with BADBADNOTGOOD. Once I heard about his collaborators (Anderson .Paak among them), I gained an active interest and then realized that this dude makes dope music with dope musicians. 99.99% easily has some of the most polished and unique production out there.

10. Coloring Book – Chance the Rapper

What can I say about Chance's record that hasn't already been said? He has such a deliberate and infectious sense of purpose when he creates music. His voice is unique, his collab game is strong and the music is some of the best out there. 

Album Preview: Disappearing Day - Peter Eldridge

Peter Eldridge is a tour-de-force in vocal jazz. In fact, because of his highly respected career as an educator and musician, Eldridge is high near understood as legendary. Perhaps best known for his work with his staple vocal group the New York Voices, he throws his musical personality from his group work into his vibrant solo career. His fifth studio album, Disappearing Day, with its strength in songwriting and almost tongue-in-cheek lyricism, moves his music from its deserved pedestal in jazz further into genre-blending uncharted territory.

And genre-blending is indeed the name of the game on this record. While it’s not uncommon to pull from a variety of influences in 21st century jazz music, Peter Eldridge’s approach stems from mixing together distinctly different styles, rather than having his music rooted in another genre. He scopes out fragments from a variety of sources, pulling especially from American folk, African and Latin music as a complement to his prevalent jazz influence. Seamlessly and with charming musicality, he creates a sound that is wholly natural. The virtuosity in his composition and playing is not always heard, but is instead understood fundamentally. The music Eldridge writes is harmonically rich, but never distractingly so. It’s expressive yet nuanced. His singing ranges from haunting to somber to twangy, never straying far from softer undertones. No song is ever abrasive. Most songs do, however, hit the listener with his full emotional intention.

Disappearing Day first captivates with the tune “Mind to Fly.” The song builds, adding layer upon layer of undulating beauty. Background vocals and chants surround the band, which in turn maintains structure through its odd-metered motion. Eldridge skates his voice above, over and through the music with supreme timing and comfort.

“I Wish I Had an Evil Twin,” originally written by Stephin Merritt of the indie-pop band the Magnetic Fields, forces you to listen to contrast. The title itself is goofy enough for a second glance. Opposing lines in the mandolin and bass connect the song. Eldridge’s voice circles around the plucked strings, creating a gentle rhythmic dissonance that draws comparison to David Byrne. As more parts are added to the mix, the song drives forward. Mellower tunes such as “Jenny Wren” are more subtle at their core. His reinterpretation of the Paul McCartney song fills some of the space from the original arrangement. It adds fullness, all the while maintaining its eerie nature.

On Disappearing Day, Eldridge couples himself with extraordinary musicians from all over the musical spectrum. Mariel Roberts, Alan Hampton, and Anat Cohen are all on his list of collaborators. The track “Wish You with Me” features singer-songwriter Becca Stevens to round out the vocal duet. Their voices meld together with the piano melody through simple, elegant harmonies. Albeit a short song, the music speaks to Eldridge’s soulful humility.

Later tracks on the record approach composition more minimalistically. Instruments and vocal harmonies are fewer in number. “Around Us” is performed a capella. It’s lyrical propensity and sometimes polyrhythmic timing frees him to use all of his strengths as a veteran vocalist and arranger. “Some Other Time” largely incorporates guitar and bass, tapering off into the album’s conclusion slowly and peacefully.

Disappearing Day is slated for release on July 22 on Sunnyside Records. Find out more on his website: http://petereldridge.com/

The Bad Plus @ the South Park Amphitheater - 7/8/16

There’s a certain child-like wonder that accompanies a performance by The Bad Plus. Well, there were certainly children at the show, and they were certainly wondering why their playtime was getting moved away from the front of the South Park Amphitheater stage. The kids had no idea; one of the microphones was picking up all of their playful banter. In their blissful innocence, they didn’t understand what was happening on that stage.

Quite frankly, the audience was more baffled than the children. The Bad Plus opened their show to a lawn full of dropped jaws. The first couple of minutes of the first tune, “Pound for Pound,” were breath-takingly beautiful. It was the beginning of a peaceful summer evening soundtrack, complete with gentle winds and a twilight sunset. Pianist Ethan Iverson’s tender playing was sparse and emotional, as if drinking in the atmosphere of his venue. Backed subtly by bassist Reid Anderson and drummer David King, the group took its time building the volume and business up until the three musicians decidedly took roaring command of the stage. Then within moments, the song returned to its serene beginnings.

The contrast in the first song proved to be a perfect example of the show to come. The follow-up track was hard-hitting right from the get-go. Even as a trio, The Bad Plus created a gigantic wall of sound. Iverson’s piano playing in this song was jarring and percussive, with Anderson and King providing heavy and disconcerting rhythms. That was just a single example of how they kept up dynamic intrigue. In a later piece, the trio laid out a fat groove. Heads were boppin’; the audience was feeling it without a doubt. There was a memorable part during a somber song when the piano itself sounded as though it were crying. They also played covers, performed in such a stylistically innovative manner that it was seldom distinguishable from the band’s own music.

Impressive and deftly modest, it was no secret how tight and together the musicians on stage were. They had control as a unit and sonic diversity as individual players. Each member was given the chance to sweep the crowd with fantastic solos, transitioning effortlessly into the subsequent section. The Bad Plus’ cohesion was so distinct and so cleverly their own. Often times they would trade unique licks within the scope of the song (Bad Plus-isms, if you would). During the ending of one tune, they stopped and started a phrase over 10 times. Each time they did so, the time between the spaced-out entrances increased. Yet, as was their fashion, they never faltered and stayed completely together.

Toward the end of the show, Anderson bantered about befriending roombas before robots take over the world. His soft-spoken sarcasm reminded everyone that the musicians on stage were indeed human. It was excellent timing for The Bad Plus, because their unreal encore cover of Johnny Cash’s “I Walk the Line” would’ve otherwise thrown that idea out of the park.
 

Setlist

• Pound for Pound
• Wolf Out
• Games Without Frontiers (Peter Gabriel cover)
• Self-Serve
• Lack the Faith But Not the Wine
• 1972 Bronze Medalist
• The Robots (Kraftwerk cover)
• Big Eater
• Encore: I Walk the Line (Johnny Cash cover)

New Track: Old Soles and Seedy Players - Paintings in the Sky

Old Soles and Seedy Players’ latest release,“Paintings in the Sky,” colors our aural palette through a soulful, melodic edge and a soft undertone. The group’s strong, intentional approach to song creation is paramount in the single. With subtle licks and warm tones, “Paintings in the Sky” garners an ‘80s psychedelic fusion sound that really sets it apart stylistically from traditionally psychedelic music. The song is catchy while maintaining an earnest, almost modest feel. 

Great execution and a talented collection of young local musicians makes Old Soles and Seedy Players' new single a must listen for those looking for a feel-good summer anthem.

Stream the new single: https://oldsolesandseedyplayers.bandcamp.com/track/paintings-in-the-sky-single

To hear more from these guys, make sure to check out:

Their Facebook page

Live recordings on their Bandcamp

Interview: Becca Stevens

Hailed as “New York’s best kept secret” by the New York Times, Becca Stevens creates a singular and untainted voice in contemporary music. As a prominent musician in the New York jazz scene and well beyond, Becca is an established gem among recording artists and is truly a joy to listen to. In order to host Becca Stevens’ Pittsburgh debut, the folks at Grey Area Productions convinced local venue and restaurant, James St Gastropub & Speakeasy to stay open on a Monday (with little debate from the night’s sound man) for the occasion. Becca played to a modest crowd, yet the experience was still intimate. Her ability to captivate her crowd reflects her strengths as a multi-instrumentalist, singer, songwriter and nonetheless approachable musician.

Pittsburgh was her first step outside of New York City on her Northeastern tour. Becca shared the stage with three fourths of her Becca Stevens Band, performing a mix of covers and works from her albums Weightless and Perfect Animals. She also treated the audience to some tunes from her upcoming record, which is currently in-progress.

When did you start writing your own compositions?

I remember the first time I was ever left alone with a guitar. I was around 11 or 12 years old and I immediately started making up my own stuff, as my sort of preference. My dad gave me a guitar after I had shown interest in his own guitar playing. He showed me some chords, then I found some chords, and I wrote a song.

Do you remember that first song?

I do. It was about some broken-hearted crap. I don’t even think I’d gotten my heart broken yet, but it was angsty anyway.

Just a few days ago, you finished up a European tour with Jacob Collier. What was that like?

Considering how little we had played in that setting - it was maybe our third time playing together - it was thrilling to be singing for so many people. We played a few dates in Germany and London, and then we headlined this huge festival in Germany and played in a huge hall. I was terrified, because I like things to be polished and ready to go and he was more for “Oh, everything will be fine,” because - he can do anything (laughs). We did some of his songs and some of my songs, then covers that we both enjoy.

Jacob was really personable. He and I had this sibling vibe to our relationship. We had a chance to do some writing, and that went super well. We left feeling like we want to do more of it.

Your piece, “I Asked,” was featured in Snarky Puppy's Family Dinner Vol. 2. Aside from an awesome feature, you also played on a less-than-conventional instrument - a charango. What made you decide to pick up the instrument?

I walked into The Music Inn in New York. I was in there, running my fingers across everything, and I got to the charango. It was the traditional kind that had the armadillo shell. I thought it was so awesome - the fact that it was an armadillo with hair still on the back. It sounded like a hybrid of a mandolin and a ukulele, with a harp-ish/classical guitar quality brought on by the nylon strings. I got super psyched because it’s basically the same fingerings [as a ukulele] but different registers.

It’s funny, there have been times where I have been without either my charango or my ukulele. It was in the hospital sometimes, a.k.a. David Gage’s guitar repair shop. They feel so different, and it’s strange when I switch them up.

It’s become sort of a staple of yours, I think.

Well, I love the sound of it and it always sounds good live.

What did you draw most from, in terms of influence, when you were creating Perfect Animals?

Oh, wow. My family is definitely my biggest influence; my dad is a composer, my mom is a singer, my sister is my best friend, she’s a dancer. Aside from that, when I was writing the music for Perfect Animal, I was listening to a lot of world music/West African music. Also, a lot of indie-pop, with a big, dark, more low-end bass and drum-driven sound. For about a year, I was obsessed with this Wye Oak record Civilian. I also listened to a lot of Little Dragon.

What else have you been listening to recently?

On her Spotify playlist:

Gillian Welsh - The Harrow & the Harvest

Radiohead - A Moon Shaped Pool

Esperanza Spalding - Emily’s D+Evolution

“Silently Weeping to” Sufjan Stevens - Carrie & Lowell

Aoife O’Donovan - In the Magic Hour

Hiatus Kaiyote - Choose Your Weapon

Kendrick Lamar - Anything he has out

What do you want listeners and songwriters alike to take away from you and your music?

Never sacrifice authenticity for accessibility. It’s important to balance them at times. Basically, don’t write songs that bore you because you think that’s what’s needed. You’re the one who has to play the song over and over. If it doesn’t inspire you, how are you gonna have fun? How are you gonna inspire other people if you’re not feeling inspired?

What’s next on your agenda?

I’ve been working on something recently with Taylor Eigsti & Gretchen Parlato. I’m also working on music with lyrics by David Crosby. There’s also my next record, a project called Regina, which is latin for “queen.” It starts with my band, but there’ll also be a lot of interesting collaborations on this album.

For more on Becca Stevens:

Visit her website

Watch videos of her on Youtube

Like her on Facebook

Follow her on Twitter

Album Preview: "Bellows," Suavity's Mouthpiece

J.Trafford is no stranger to artistic creation.  A veteran on the scene, performing since 2001, the multi-instrumentalist and prolific songwriter has had the opportunity and challenge of stylizing music that remains timeless as time moves forward. His music has been featured in Pittsburgh Fashion Week and the Pittsburgh Independent Film Festival – opportunities that affirm the incomparable nature of Trafford’s musical art. Bellows is Trafford’s latest musical milestone. Accompanied by his live performance group, Suavity’s Mouthpiece, it is a welcome expansion from Suavity’s 2014 full-length studio release, Peerless Suavity. With Bellows, Trafford creates music that is grounded in pop, but has the air and cadence of the alternative scene. 

“Chassis” opens the E.P. with a few risky production ideas. The music has a lot of varied, almost eclectic instrumentation, including an accordion and a mandolin. As short as “Chassis” may be, the music is harmonically dense. Trafford’s sultry, folkloric singing works as an adhesive for the overall arrangement. His voice sits warmly in the midst of the hodgepodge, coloring the brightly-toned instruments. The vocals, however, can sometimes get lost in the jumble. Given the sing-song nature of the track, the overcrowding of instruments proves to be a detriment to his lyrical performance.

The first vocal jump in “Sugarcoating” starts the song off strong. Trafford’s versatility in his voice’s tonal quality is highlighted in both Sugarcoating and the third track on the EP, "You Clearly Picked…" He moves between heady quivers, reminiscent of Morrissey, and smooth glides harkening back to Jeff Buckley’s signature glissando.

Stylistically, the second and third track of Bellows are worlds apart. “Sugarcoating” plays like an eerie tribute to medieval festival tunes. The track somehow manages to feel psychedelic without an overwhelming use of effects. “You Clearly Picked…”, however, displays Trafford’s poetic lyrics at its forefront. The guitar rhythm stays steady as a rock, allowing the music to grow and the lyrics to be sung with an imagined freedom of form.

Bellows takes a huge leap in a different direction with the last track, No Bake Cherry Cheesecake. The tune is somewhat jazzy in nature. It’s also catchy and again salutes to Trafford’s versatility. Heavy rhythm-section entrances build the energy gradually, yet effectively. As the only instrumental track, it immediately stands out among the four songs on the EP. While the song itself is harmonically rich and a great stand-alone piece, it feels tonally independent from the context of the rest of his music. The song should be kept aside for a later release that is akin to its individual style.

Despite the sometimes muddy vocal mix and the minor incongruence of the last tune, Bellows proves that J. Trafford and Suavity’s Mouthpiece has the strength in songwriting chops to go beyond pop and create music with depth.

Check out a couple of tracks from Bellows below:

Chassis

Suavity's Mouthpiece

Sugarcoating

Suavity's Mouthpiece

Album Preview: "Drag A Match Over Me," Flash of Silver

Drag a Match Over Me by Flash of Silver is out Friday, May 13.

Flash of Silver is the type of side project that every musician needs. It demonstrates several aspects of each band member’s significant potential. Together the trio of Vic Cherubim, Collin Cherubim and Alex Holloway brings forth the strength and solidarity created through years of playing together in their main project, local Pittsburgh psychedelic rock outfit Memphis Hill. Drag a Match Over Me establishes Flash of Silver as the raw, emotional “coming out” from their half of Memphis Hill.

The band excels at creating music uniquely stylized to highlight Vic Cherubim’s guitar playing. The album starts with a heavy-driving groove and an aggressive attitude. In “Act 2”, bassist Holloway compliments Vic from line to line, weaving through and around the guitar part to let Vic’s chords breathe. Vic has a distinct speak-sing style to his vocals, which is felt most strongly when drummer Colin Cherubim suddenly cuts out. These clever, well-timed breaks throughout the song provide a tense and necessary silence, broken once by a dulled moan and again by a pained screech.

The EP is cleverly dynamic within each of the four songs. As a vocalist, Vic tells his story in swift lines, spoken calmly but with an envy of his lovelorn past. He often contrasts his vocals with overdriven guitar leads reminiscent of ‘90s grunge. In “That Time,” the verse riff is aesthetically equivalent to Smashing Pumpkins. Drummer Collin Cherubim’s tom-heavy starting pace is eventually shifted to a half-time feel, sprinkled with the super dirty, hard-hitting lead lines. Mix in some tasteful shouts and Alex’s locked-in bass, and the resulting sounds are in your face for the rest of the tune.

Some special attention needs to be paid to Vic’s guitar solos in “Mountain” and “Queen of the Record Machine.” These require a series of double-takes to fully absorb. His guitar solos are wholly nasty – in a good way. That prowess is ever-present in his previous recordings with Memphis Hill. In these tracks, it’s like he’s having a conversation with Led Zeppelin’s Jimmy Page while being simultaneously possessed by the ghost of Rage Against the Machine’s Tom Morello. Vic’s solos are crunchy and overall raw. The listener is taken aback.

Drag a Match Over Me throws grime at the listener while keeping the flow rhythmically diverse. It takes a special type of band to play with so much dissonance and still be interesting. Flash of Silver joins the Pittsburgh scene with finesse and a tone-shifted departure from their psychedelic rock predecessor.

Listen to tracks from Flash of Silver's first EP, Drag a Match Over Me, below. Check out the album release party at Howler's on Friday, May 13 with Big Gypsy and Manic Soul.

Mountain

Flash of Silver

Queen of the Record Machine

Flash of Silver

That Time

Flash of Silver

Act 2

Flash of Silver