Maybe it's been the heat or the fact that I've been feeling a bit under the weather lately, but I've definitely been due for a pick-me-up. There's something about the summer that leaves feelings of restlessness, so for no other reason than conjuring images of the open road and getting out of the crowded haze that is the city, here are some of my favorite travel songs as of late:
First up is Brad Alexander and Adam Mathias' "See Rock City" (sung here by Josh Young) from their song See Rock City & Other Destinations, which is currently playing at The Duke at 42nd Street:
And outdoing any Mapquest directions or GPS in style and delivery are Jay Armstrong Johnson and Alex Brightman singing "Halfway" by Ryan Scott Oliver:
And last, but hardly least, is my quintessential musical girl power road trip song, Kerrigan and Lowdermilk's "Freedom" from The Unauthorized Autobiography of Samantha Brown, performed by Helene Yorke and Phoebe Strole:
Showing posts with label Jay Armstrong Johnson. Show all posts
Showing posts with label Jay Armstrong Johnson. Show all posts
Thursday, July 22, 2010
Friday, April 30, 2010
Too Damn Good Not To Post
As its run comes to an end at Ars Nova, the creative team is going all out to celebrate all that is Bloodsong. A ticket to this Sunday's performance will also buy you a ticket to Joegasm with a post-show concert featuring the cast, as well as Lindsay Mendez and Jay Armstrong Johnson. Need more convincing?
Watch this and I dare you not to be there.
Watch this and I dare you not to be there.
Tuesday, March 2, 2010
Not a Love Story
I’m still reeling after an amazing night of performances last night at the Kerrigan and Lowdermilk concert, Under the Influence, at the Birdland. As I’ve raved about this songwriting duo before, the night was an incredible combination of some sweet tunes. I was impressed with the kind of narrative they set up through their song selection—an amalgam of their well-known songs with stories of the pop music that influenced them, as well as some covers of songs that impacted their musical style.
Perhaps the thing I loved most about the concert though was their decision to re-orchestrate and rearrange their most popular songs. In fact, the highlights included a (gasp!) male version of “Two Strangers,” a revamped version of “Runaway With Me” with the eclectic and whimsical Spring Standards, and a re-orchestrated “Not a Love Story” with Kait Kerrigan at the violin. There’s something very admirable in a musician’s willingness to play around with their music, and the beautiful new creations that came out of that play showed how malleable their music is.
Hearing their influences was also powerful. I’ve always felt that their music has such a distinct female voice and has a contemporary sound that is distinctly theirs. Ironically, this comes from the fact that they borrow from contemporary pop musicians, building a musical theatre reflections of popular hits.
So, through the power of youtube, I leave you with some videos of my favorite performances of the night: Jay Armstrong Johnson, Morgan Karr, and Matt Doyle singing “Two Strangers,” Katie Thompson singing “Five and a Half Minutes,” and Jenni Barber, Kait Kerrigan, and Brian Lowdermilk singing "I'm Sorry."
EDIT: Got a few more!
"Run Away With Me" with the Spring Standards:
"My Heart Is Split" with Vienna Teng:
In fact, go watch them all here.
Perhaps the thing I loved most about the concert though was their decision to re-orchestrate and rearrange their most popular songs. In fact, the highlights included a (gasp!) male version of “Two Strangers,” a revamped version of “Runaway With Me” with the eclectic and whimsical Spring Standards, and a re-orchestrated “Not a Love Story” with Kait Kerrigan at the violin. There’s something very admirable in a musician’s willingness to play around with their music, and the beautiful new creations that came out of that play showed how malleable their music is.
Hearing their influences was also powerful. I’ve always felt that their music has such a distinct female voice and has a contemporary sound that is distinctly theirs. Ironically, this comes from the fact that they borrow from contemporary pop musicians, building a musical theatre reflections of popular hits.
So, through the power of youtube, I leave you with some videos of my favorite performances of the night: Jay Armstrong Johnson, Morgan Karr, and Matt Doyle singing “Two Strangers,” Katie Thompson singing “Five and a Half Minutes,” and Jenni Barber, Kait Kerrigan, and Brian Lowdermilk singing "I'm Sorry."
EDIT: Got a few more!
"Run Away With Me" with the Spring Standards:
"My Heart Is Split" with Vienna Teng:
In fact, go watch them all here.
Wednesday, December 30, 2009
Hemming and Hawing
I was all set with an idea of what I wanted to post about today (thrilling revelations, I assure you)… until I came across these videos today from one of my favorite composers on the scene at the moment, Ryan Scott Oliver. I already had him on the brain after receiving an awesome Christmas gift of tickets to Rated RSO at Joes Pub in January, but recently uploaded, incredible videos, teasers for 35 MM, also feel like an unexpected present.
According to the information in these videos, "35MM is a multimedia 'musical exhibition' in which photographic images inspire music and lyrics, and inversely music and lyrics inspire photographs." The photographic inspiration comes from Matthew Murphy, and the songs that result from the collaboration of text/performance/image is absolutely stunning and uniquely twisted and gorgeous in a way that I only seem to find in RSO's work.
This song in particular really struck a chord with me, with its dark, haunting, but gleeful energy that is reminiscent of an Edward Gorey cartoon:
I've heard a few RSO songs that are meant to be stand-alone, but an aspect of his work that I've always been in awe of is the fact that his music is always so theatrical. I don't mean this in a way that implies that his songs are flamboyant or epic, but that they always move a story forward, seamlessly combining emotion and musicality with the practicality and enthusiasm of storytelling. I feel like his work is incredibly generous to book and back story, a truth that is evident in his contributions to musical web series "The Battery's Down" in the way that it defined Jake Wilson's character's story arc in two songs book ending the three seasons of the series, perhaps more than any of the plot twists in any of the episodes. There's poignancy and matter-of-fact wicked humor that runs through any of the works in his song book that implies strong characters and a whole world unto itself, a reason why I can imagine people latched on to "This is Your Life" from TBD's inception or why Cait Doyle's theme song for "Hot Mess in Manhattan" is so endearing.
If I had to describe Ryan Scott Oliver's work in one word, I would have to say: compelling. Not only in the sense that it's moving and encompasses many layered emotions, but also in the most literal sense of the word. His music is a call to action, a moment in motion, and it sweeps through a story as though music is the only way of expression in that instance. My most vivid example of this was when he closed his set at SPF's lounge concert this summer with "Song of the Dead Fairy," and within the first chorus, I felt compelled to clap even though no one else was. I held back, but then Ryan actually looked right over at our table and kind of gestured as if to say, "Why the hell not?" Needless to say, that's all it took to really get into it.
Also, as a last note, can I just comment on how amazing the combination of Ryan Scott Oliver and Alex Brightman is? I've seen Alex in a few readings and performances now, but there's something about the energy and sincerity of the way he approaches the genius twist of a troubled Peter Pan or a love-crazed student that really makes for a stellar performance.
According to the information in these videos, "35MM is a multimedia 'musical exhibition' in which photographic images inspire music and lyrics, and inversely music and lyrics inspire photographs." The photographic inspiration comes from Matthew Murphy, and the songs that result from the collaboration of text/performance/image is absolutely stunning and uniquely twisted and gorgeous in a way that I only seem to find in RSO's work.
This song in particular really struck a chord with me, with its dark, haunting, but gleeful energy that is reminiscent of an Edward Gorey cartoon:
I've heard a few RSO songs that are meant to be stand-alone, but an aspect of his work that I've always been in awe of is the fact that his music is always so theatrical. I don't mean this in a way that implies that his songs are flamboyant or epic, but that they always move a story forward, seamlessly combining emotion and musicality with the practicality and enthusiasm of storytelling. I feel like his work is incredibly generous to book and back story, a truth that is evident in his contributions to musical web series "The Battery's Down" in the way that it defined Jake Wilson's character's story arc in two songs book ending the three seasons of the series, perhaps more than any of the plot twists in any of the episodes. There's poignancy and matter-of-fact wicked humor that runs through any of the works in his song book that implies strong characters and a whole world unto itself, a reason why I can imagine people latched on to "This is Your Life" from TBD's inception or why Cait Doyle's theme song for "Hot Mess in Manhattan" is so endearing.
If I had to describe Ryan Scott Oliver's work in one word, I would have to say: compelling. Not only in the sense that it's moving and encompasses many layered emotions, but also in the most literal sense of the word. His music is a call to action, a moment in motion, and it sweeps through a story as though music is the only way of expression in that instance. My most vivid example of this was when he closed his set at SPF's lounge concert this summer with "Song of the Dead Fairy," and within the first chorus, I felt compelled to clap even though no one else was. I held back, but then Ryan actually looked right over at our table and kind of gestured as if to say, "Why the hell not?" Needless to say, that's all it took to really get into it.
Also, as a last note, can I just comment on how amazing the combination of Ryan Scott Oliver and Alex Brightman is? I've seen Alex in a few readings and performances now, but there's something about the energy and sincerity of the way he approaches the genius twist of a troubled Peter Pan or a love-crazed student that really makes for a stellar performance.
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