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illinoisentertainer. com march 2017
Continued from page 24 soul that produced 14-carat, melancholy solo gems like“ Waiting for My Real Life to Begin”( the song that gave the title to Hay’ s compelling new documentary).“ She Was the Love of Mine” follows Next Year People’ s“ Did You Just Take the Long Way Home” as another tender devotional to Hay’ s late mother. Description of the love that remains after loss is primed to melt hearts of steel. Similar sentiment touches“ Two Friends.” With lush strings, the smitten“ A Thousand Million Reasons” is the happier, opposite number to earlier stunner“ I Just Don’ t Think I’ ll Ever Get Over You.” Hay loses himself in reverie during“ I’ m Going to Get You Stoned,” but sheds nostalgia with the conviction that there aren’ t enough days to risk indulging it.“ Not living is the crime,” he sings.“ I squeeze it each and every day.” Even while dispensing the wisdom of years, however, Hay can’ t resist one more wry aside at his own expense.“ I’ m still running chasing dollars,” he sings of a frenetic life.“ Sure beats lying in the sun.” Appearing 3 / 10, Thalia Hall, Chicago
– Jeff Elbel
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THE LEGAL MATTERS Conrad
( Omnivore)
Michigan-based power-pop trio The Legal Matters deliver upon the considerable promise of their 2014 self-titled debut. Veteran musicians Andy Reed, Chris Richards and Keith Klingensmith must have spent their sophomore slump during their dues-paying years in other bands, because it’ s nowhere to be found on Conrad. The disc presents 11 new slices of tasty psych-rock confection.“ Anything” is resplendent with Laurel Canyon shimmer, patient Big Star-meets-George Harrison jangle, and summery Brian Wilson harmonies. Think of Matthew Sweet’ s rootsy 90s side project The Thorns as a point of reference. The band’ s twin trademarks last time around were big, chiming guitars and sugar-sweet, note perfect harmonies. Both qualities are amplified on songs including the melancholy“ Minor Key.” The yearning“ Pull My String” begins with an intimate combination of vocal and acoustic guitar, but evolves into another glorious pop symphony as the song describes the struggle to break character and routine.“ She Called Me to Say” and“ Hip Hooray” are reminiscent of recent crafty masterpieces by The Jayhawks. The memory of The Beatles’“ Oh! Darling” echoes through“ I’ m Sorry Love,” with its pristine melody spiked by parlor piano and a gnarly guitar tone borrowed from additional Abbey Road cut“ Because.” Fair sprinklings of Jellyfish and Teenage Fanclub are added for good measure. Album closer“ Better Days” mines later McCartney / Wings gem“ Let‘ Em In,” while breathing sighs of wistful nostalgia and clutching at elusive, cautious optimism.“ Better days await me. Better days have come and gone.” The song seems a bit roughed up by the present, but has a heart willing to hold onto hope as the singer goes about the business of simply getting by. It’ s a welcome balm for turbulent times.
– Jeff Elbel
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DONNY MCCASLIN Beyond Now
( Motema)
David Bowie may be at rest, but his restless musical spirit is still giving gifts. Bowie’ s final studio album Blackstar featured another bold shift in sound, relying heavily upon New York-based saxophonist Donny McCaslin and his band. Savvy jazz fans have been aware of McCaslin’ s outstanding catalog since 1998, now a dozen albums deep. The rest of us can catch up with Beyond Now and learn what made Bowie so excited. The fusion framework of“ Shake Loose” recalls the compelling oddtime excursions of Mahavishnu Orchestra and Frank Zappa’ s Hot Rats. McCaslin’ s tenor sax scats and sings above the foundation of Tim Lefebvre’ s bass, juxtaposing the ability to shock and entrance. McCaslin honors his recent collaborator with a pair of craftily-arranged covers from Bowie’ s work with Brian Eno.“ Warszawa” is borrowed from 1977’ s Low, recast as an expressive, unhurried and mournful duet between saxophone and clarinet. The tense melody grows with the crescendo of Mark Guiliana’ s cymbal swells and icy sheets of sound from Jason Lindner’ s keyboards.“ A Small Plot of Land” was a haunted, unsettled track from 1995’ s bracing Outside. Here, its hypnotic EDM pulse places the song even further onto alien terrain. Guest Jeff Taylor provides the album’ s only vocal, rendered as sorry words of farewell and echoed by McCaslin’ s saxophone. The liner notes provide McCaslin’ s own eulogy in more uplifting terms, citing Bowie’ s generosity, creative spirit and fearlessness as a lasting influence. Appearing 3 / 16-19, Jazz Showcase, Chicago
– Jeff Elbel
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