Wheelkick Back Pages

Amazing Grace: Jeff Buckley at the Boston Independent Film Festival Directed/Produced by Nyla Bialek Adams and Laurie Trombley Rating: A self-financed, nonprofit endeavour of love, Amazing Grace: Jeff Buckley is a genuinely inspiring documentary. Featuring an impressive collection of interviews and rare footage (including some early performances in the East Village), it's safe to say that fans will thoroughly enjoy this tender look at his legacy; they are of course a loyal and devoted following. More impressive though is how first-time filmmakers Adams and Trombley manage to resurrect the eloquent musician, who by all rights deserved more mainstream attention than he ever received, and artfully present him to the general populace. In addition to intimate interviews with the sincere and soft-spoken Buckley, there are numerous accounts and personal anecdotes from former band members and friends that paint a very real picture of him. However, Adams and Trombley didn't wish to simply create a biography; they sought to demonstrate how big an impact Buckley has had on a wide range of artists from all over the world. They bring to light interpretive dance productions, classical compositions, and collections of paintings all inspired by the late singer. His profound and diverse influence on artistic expression is easy to fathom; as Jeff's mother Mary Guibert acknowledges, her son's most enthusiastic fans are almost uniformly artists themselves. Watching this film though, what struck me most was what many devotees already know: Jeff Buckley was one of the most gifted singers ever to grace a stage. In many clips we see him performing solo, with just an electric guitar. The arrangement allows his voice to soar to the forefront, and command your attention with its mesmerizing, soulful outpouring of heartache, longing, and passion. And yet as much as he lets looseólike in the closing performance footage, where an almost supernatural possession seems to grip himóhe never loses control of that graceful voice, hitting every note in perfect pitch. It is, quite simply, awesome. If you're seeking some inspiration, you might want to get more familiar with Jeff Buckley's life and music. And Amazing Grace will help you do just that in engaging fashion. -Jason Holloway \| (email)

Catwalkblue Catwalkblue (Self-released EP) Rating: A jazzy funk quintet, Catwalkblue is emerging as one of the youngest and most talented bands from the Cleveland music scene. Yes, I said Cleveland. With the Rock n' Roll Hall of Fame in their backyard, and an overflowing pool of talented jazz musicians playing the scene, the core group of the band (Greg Gargwood-guitar, Matt Miller-bass, and Eric Selner-vocals and keyboard) are three high school friends who have grown far past wanting to be the next Dave Matthews Band. With the addition of journeyman drummer Myron Gardner, a veteran of Clevelandís jazz clubsówhich some are calling one of the best kept secrets in the country (oops)óand more recently Keith McKelly on saxophone, the band has found their sound ...and they enjoy letting you know. Ý Playing shows throughout the Midwest and performing regularly in New York City, both of their available EPs inject a dose of funk into a rock genre that is saturated with emo lyrics and power chords. Selnerís voice captures both the highs and lows of the band's songs, his notes ringing true with male bravado and melancholy equally. Backed up by Millerís weighty bass on ìBelinda 89,î he conjures up the likes of Chris Robinson of the Black Crowes with his throaty longing. McKellyís prowess on the saxophone serves as more than a gimmick for a few solos here and there; on ìTwenty-One on Seventeen,î he is a veritable back-up singer, and the band seems happy to let their rookie member take center stage. Striking his high notes while Miller lays the groundwork for each song, the two back up the bandís reverence for Earth Wind and Fire. Both Garwood and his guitar seem conjured up from the decade of rock that we missed. In ìLooking For Youî he brings that working class sound that defines the band and its roots, and runs with it. Energized with a blend of musical forms, catwalkblue has a sound that not only deserves to be found, but listened to as well. Ý Click HERE* for Noah Fowle's interview with Catwalkblue.* -Noah Fowle \| (email)

Lou Barlow - Emoh (Merge Records, 2005) Rating: The first official solo release by indie rock hero Lou Barlow, Emoh is a well crafted album by the maturing legend of lo-fi. Brimming with understated emotion, subtle angst, and textured simplicity, it makes for an atmospheric and enjoyable listen, if not a masterpiece. While Barlow's husky voice doesn't leap out of the speakers like it did in many Dinosaur Jr. songs, it's the perfect conduit for these simple, beautiful melodies. These are earnest and catchy campfire songs that almost anyone could sing, rarely ranging more than an octave in any direction. And despite being recorded in various locations across the country (including six tracks taped in Barlow's home) by three different producers, Emoh is surprisingly cohesive and well-produced. Starting off with the galloping guitar strums of "Holding Back the Year", the first half of the album is instantly captivating. Barlow goes simple on drums throughout, using an array of tape loops that literally give some of the songs a heartbeat. "Home" has a sweeping, thick sound, layered with pulsing percussion and the melancholy drone of an accordion. "Caterpillar Girl" is vintage Barlow, while somehow reminding me of Stone Temple Pilots' best work at the same time. "If I Could" has a warm, fuzzy glow about it, at once both light-hearted and sad. And the delicate "Legendary" is probably the prettiest, and most moving, song on the album. As Emoh progresses, the music grows darkeró"Morning's After Me" and "Round and Round" are bleak and autumn-esque in their somber beauty. But for the most part, the back half of the album isn't as successful. "Confused" drags along with an interesting but choppy rhythm, and "Imagined Life" is sluggish and forgettable. The real highlight of this stretch is "Mary," a peculiar love song that's downright charming, if a bit sacrilegious. A fun look at 'the oldest story never told,' it benefits from sleigh bells and whistles, sporting a Charlie Brown Christmas brand of cheerfulness. Already considered a songwriting heavyweight for his work in Dinosaur Jr., Sebadoh, and Folk Implosion, Lou Barlow manages to add to his growing legacy with this strong solo debut. (If you missed Lou Barlow's solo tour this spring, catch Dinosaur Jr. this summer as they play a long-awaited reunion tour. Tickets for the Boston show at Avalon go on sale May 6th.) -Jason Holloway \| (email)

Mutual Appreciation at the Boston Independent Film Festival Directed by Andrew Bujalski Rating: Mutual Appreciation tells the story of lead singer Alan (Justin Rice) who, without his band, moves to New York City. It is here that he looks for a drummer, tries to meet the right girl without hurting anyone's feelings, and figures out his next step in life. He spends much time with his two good friends Lawrence (Bujalski) and Ellie (Rachel Clift), as they sit around trying to make sense of their lives as lost post-graduate twentysomethings living in New York and barely getting by. I may have gone to see the film because Justin Rice (of Bishop Allen fame) was the star, but it is Andrew Bujalski's directing that makes this movie. Every scene is real to life, almost too real sometimes, as it captures those awkward moments where conversation turns silent and the last sentence hangs almost visibly in the air. I spent a good portion of the movie uncomfortable, full of anxiety, and living vicariously through the characters, frame by frame. The silent "dialogue," where the characters sit and bop their heads wondering what to say next, is appropriately placed, and when they do speak, it is funny and witty, showing how perceptive this film really is. Rachel Clift is believable as Ellie, the city girl who drinks wine and has existential conversations with boys she has crushes on. And Andrew Bujalski's character plays nicely as the boyfriend who is overeducated and overly understanding. The only thing that didn't fit was their romantic connection. I spent the entire movie wondering how these two people ever got together. On the other hand, the chemistry and tension between Ellie and Alan was real and almost unbearable. Justin Rice does a wonderful job playing the aloof musician who can melt hearts with his big sleepy grin; however, this may not be too much of a stretch for him. With beautiful black and white images, Mutual Appreciation takes its viewers on a journey through the day-to-day life of a regular guy with big dreams trying to make it in New York. I wasn't sure how the movie could ever end since it seemed so alive and lifelike, and the final scene did happen rather abruptly. However, this movie wasn't meant to have a Hollywood ending. There is no film industry formula to Mutual Appreciation, and the plot isn't about going from A to B, but about giving us a full image of the lives of these characters. (Bujalski's first film, Funny Ha Ha, will be playing at the Coolidge Corner Theatre in Brookline and the Cinema Village in New York from April 29th.) -Gina Favata \| (email)

Doug Hinrichs - Q & A (Doug Hinrichs Music, 2005) Rating: On his debut album, Q & A, Doug Hinrichs, a percussionist, serves up an interesting mix of jazzy, funky world beats. Upon my first listen, I realized portions of these songs could find their way into the albums of two of my favorite musicians: Paul Simon and the French guitarist, Marc Antoine. This made me like the album right away! Hinrichs plays percussion, steel drums, keyboards, and sings on one of the two tracks containing vocals. The musicians joining Hinrichs: Brad Mason on trumpet and flugelhorn, Ed Love on flute, Ze Luis on guitar and flute, Erik Friedlander on cello, and Samantha Balassa on vocals. This mix of instruments contributes to the genre-crossing songs which make up Q & A. ìSwangî opens with some African rhythms, but quickly turns into a quick-paced light jazz piece. The title track is an upbeat mix of jungle rhythms, with the flute adding a nice touch. ìSamba Gî and ìMinha PaixÂoî are Brazilian-influenced compositions. On the latter, Samantha Balassa provides vocals in Portuguese. The fourth track is an instrumental version of this song. Other notable songs: ìFigure You Out,î on which Hinrichs provides vocals, ìSic 'Em,î and ìCloser Groove.î I was able to ask Hinrichs about his music and his influences. He said there were certain moments, live performances or recordings, which made indelible impressions on him. Among them was a live performance at a Sting concert by Mino Cinelu, the French-Caribbean percussionist. As he left the concert, Hinrichs said, ìThatís what I want to do!î There are two albums which made a great impression on him ñ Steely Danís Katy Lied and Ivan Linsí Awa Yio. Rhythmically and lyrically, they were quite inspirational for him. However, the greatest influence on Hinrichs was watching Giovanni Hidalgo, the conguero, play a five-minute solo. The feelings of awe and inspiration still come to mind when Hinrichs plays congas. Hinrichs feels that what makes a musician better, as well as an inspiration to his audience and bandmates, is when he plays what he feels more so than just playing what he knows. Playing it safe doesnít inspire, but not knowing what comes next is a way of connecting and affecting the audience. Hinrichsí feelings about music certainly come through on his first effort, Q & A. This album is not your ordinary one genre-confined album. Itís a fine mix of all kinds of beats and hard-to-define sounds, making it that much more enjoyable. -Adela Brito \| (email)

Amazing Grace: Jeff Buckley at the Boston Independent Film Festival Directed/Produced by Nyla Bialek Adams and Laurie Trombley Rating: A self-financed, nonprofit endeavour of love, Amazing Grace: Jeff Buckley is a genuinely inspiring documentary. Featuring an impressive collection of interviews and rare footage (including some early performances in the East Village), it's safe to say that fans will thoroughly enjoy this tender look at his legacy; they are of course a loyal and devoted following. More impressive though is how first-time filmmakers Adams and Trombley manage to resurrect the eloquent musician, who by all rights deserved more mainstream attention than he ever received, and artfully present him to the general populace. In addition to intimate interviews with the sincere and soft-spoken Buckley, there are numerous accounts and personal anecdotes from former band members and friends that paint a very real picture of him. However, Adams and Trombley didn't wish to simply create a biography; they sought to demonstrate how big an impact Buckley has had on a wide range of artists from all over the world. They bring to light interpretive dance productions, classical compositions, and collections of paintings all inspired by the late singer. His profound and diverse influence on artistic expression is easy to fathom; as Jeff's mother Mary Guibert acknowledges, her son's most enthusiastic fans are almost uniformly artists themselves. Watching this film though, what struck me most was what many devotees already know: Jeff Buckley was one of the most gifted singers ever to grace a stage. In many clips we see him performing solo, with just an electric guitar. The arrangement allows his voice to soar to the forefront, and command your attention with its mesmerizing, soulful outpouring of heartache, longing, and passion. And yet as much as he lets looseólike in the closing performance footage, where an almost supernatural possession seems to grip himóhe never loses control of that graceful voice, hitting every note in perfect pitch. It is, quite simply, awesome. If you're seeking some inspiration, you might want to get more familiar with Jeff Buckley's life and music. And Amazing Grace will help you do just that in engaging fashion. -Jason Holloway \| (email)

Catwalkblue Catwalkblue (Self-released EP) Rating: A jazzy funk quintet, Catwalkblue is emerging as one of the youngest and most talented bands from the Cleveland music scene. Yes, I said Cleveland. With the Rock n' Roll Hall of Fame in their backyard, and an overflowing pool of talented jazz musicians playing the scene, the core group of the band (Greg Gargwood-guitar, Matt Miller-bass, and Eric Selner-vocals and keyboard) are three high school friends who have grown far past wanting to be the next Dave Matthews Band. With the addition of journeyman drummer Myron Gardner, a veteran of Clevelandís jazz clubsówhich some are calling one of the best kept secrets in the country (oops)óand more recently Keith McKelly on saxophone, the band has found their sound ...and they enjoy letting you know. Ý Playing shows throughout the Midwest and performing regularly in New York City, both of their available EPs inject a dose of funk into a rock genre that is saturated with emo lyrics and power chords. Selnerís voice captures both the highs and lows of the band's songs, his notes ringing true with male bravado and melancholy equally. Backed up by Millerís weighty bass on ìBelinda 89,î he conjures up the likes of Chris Robinson of the Black Crowes with his throaty longing. McKellyís prowess on the saxophone serves as more than a gimmick for a few solos here and there; on ìTwenty-One on Seventeen,î he is a veritable back-up singer, and the band seems happy to let their rookie member take center stage. Striking his high notes while Miller lays the groundwork for each song, the two back up the bandís reverence for Earth Wind and Fire. Both Garwood and his guitar seem conjured up from the decade of rock that we missed. In ìLooking For Youî he brings that working class sound that defines the band and its roots, and runs with it. Energized with a blend of musical forms, catwalkblue has a sound that not only deserves to be found, but listened to as well. Ý Click HERE* for Noah Fowle's interview with Catwalkblue.* -Noah Fowle \| (email)

Lou Barlow - Emoh (Merge Records, 2005) Rating: The first official solo release by indie rock hero Lou Barlow, Emoh is a well crafted album by the maturing legend of lo-fi. Brimming with understated emotion, subtle angst, and textured simplicity, it makes for an atmospheric and enjoyable listen, if not a masterpiece. While Barlow's husky voice doesn't leap out of the speakers like it did in many Dinosaur Jr. songs, it's the perfect conduit for these simple, beautiful melodies. These are earnest and catchy campfire songs that almost anyone could sing, rarely ranging more than an octave in any direction. And despite being recorded in various locations across the country (including six tracks taped in Barlow's home) by three different producers, Emoh is surprisingly cohesive and well-produced. Starting off with the galloping guitar strums of "Holding Back the Year", the first half of the album is instantly captivating. Barlow goes simple on drums throughout, using an array of tape loops that literally give some of the songs a heartbeat. "Home" has a sweeping, thick sound, layered with pulsing percussion and the melancholy drone of an accordion. "Caterpillar Girl" is vintage Barlow, while somehow reminding me of Stone Temple Pilots' best work at the same time. "If I Could" has a warm, fuzzy glow about it, at once both light-hearted and sad. And the delicate "Legendary" is probably the prettiest, and most moving, song on the album. As Emoh progresses, the music grows darkeró"Morning's After Me" and "Round and Round" are bleak and autumn-esque in their somber beauty. But for the most part, the back half of the album isn't as successful. "Confused" drags along with an interesting but choppy rhythm, and "Imagined Life" is sluggish and forgettable. The real highlight of this stretch is "Mary," a peculiar love song that's downright charming, if a bit sacrilegious. A fun look at 'the oldest story never told,' it benefits from sleigh bells and whistles, sporting a Charlie Brown Christmas brand of cheerfulness. Already considered a songwriting heavyweight for his work in Dinosaur Jr., Sebadoh, and Folk Implosion, Lou Barlow manages to add to his growing legacy with this strong solo debut. (If you missed Lou Barlow's solo tour this spring, catch Dinosaur Jr. this summer as they play a long-awaited reunion tour. Tickets for the Boston show at Avalon go on sale May 6th.) -Jason Holloway \| (email)

Mutual Appreciation at the Boston Independent Film Festival Directed by Andrew Bujalski Rating: Mutual Appreciation tells the story of lead singer Alan (Justin Rice) who, without his band, moves to New York City. It is here that he looks for a drummer, tries to meet the right girl without hurting anyone's feelings, and figures out his next step in life. He spends much time with his two good friends Lawrence (Bujalski) and Ellie (Rachel Clift), as they sit around trying to make sense of their lives as lost post-graduate twentysomethings living in New York and barely getting by. I may have gone to see the film because Justin Rice (of Bishop Allen fame) was the star, but it is Andrew Bujalski's directing that makes this movie. Every scene is real to life, almost too real sometimes, as it captures those awkward moments where conversation turns silent and the last sentence hangs almost visibly in the air. I spent a good portion of the movie uncomfortable, full of anxiety, and living vicariously through the characters, frame by frame. The silent "dialogue," where the characters sit and bop their heads wondering what to say next, is appropriately placed, and when they do speak, it is funny and witty, showing how perceptive this film really is. Rachel Clift is believable as Ellie, the city girl who drinks wine and has existential conversations with boys she has crushes on. And Andrew Bujalski's character plays nicely as the boyfriend who is overeducated and overly understanding. The only thing that didn't fit was their romantic connection. I spent the entire movie wondering how these two people ever got together. On the other hand, the chemistry and tension between Ellie and Alan was real and almost unbearable. Justin Rice does a wonderful job playing the aloof musician who can melt hearts with his big sleepy grin; however, this may not be too much of a stretch for him. With beautiful black and white images, Mutual Appreciation takes its viewers on a journey through the day-to-day life of a regular guy with big dreams trying to make it in New York. I wasn't sure how the movie could ever end since it seemed so alive and lifelike, and the final scene did happen rather abruptly. However, this movie wasn't meant to have a Hollywood ending. There is no film industry formula to Mutual Appreciation, and the plot isn't about going from A to B, but about giving us a full image of the lives of these characters. (Bujalski's first film, Funny Ha Ha, will be playing at the Coolidge Corner Theatre in Brookline and the Cinema Village in New York from April 29th.) -Gina Favata \| (email)

Doug Hinrichs - Q & A (Doug Hinrichs Music, 2005) Rating: On his debut album, Q & A, Doug Hinrichs, a percussionist, serves up an interesting mix of jazzy, funky world beats. Upon my first listen, I realized portions of these songs could find their way into the albums of two of my favorite musicians: Paul Simon and the French guitarist, Marc Antoine. This made me like the album right away! Hinrichs plays percussion, steel drums, keyboards, and sings on one of the two tracks containing vocals. The musicians joining Hinrichs: Brad Mason on trumpet and flugelhorn, Ed Love on flute, Ze Luis on guitar and flute, Erik Friedlander on cello, and Samantha Balassa on vocals. This mix of instruments contributes to the genre-crossing songs which make up Q & A. ìSwangî opens with some African rhythms, but quickly turns into a quick-paced light jazz piece. The title track is an upbeat mix of jungle rhythms, with the flute adding a nice touch. ìSamba Gî and ìMinha PaixÂoî are Brazilian-influenced compositions. On the latter, Samantha Balassa provides vocals in Portuguese. The fourth track is an instrumental version of this song. Other notable songs: ìFigure You Out,î on which Hinrichs provides vocals, ìSic 'Em,î and ìCloser Groove.î I was able to ask Hinrichs about his music and his influences. He said there were certain moments, live performances or recordings, which made indelible impressions on him. Among them was a live performance at a Sting concert by Mino Cinelu, the French-Caribbean percussionist. As he left the concert, Hinrichs said, ìThatís what I want to do!î There are two albums which made a great impression on him ñ Steely Danís Katy Lied and Ivan Linsí Awa Yio. Rhythmically and lyrically, they were quite inspirational for him. However, the greatest influence on Hinrichs was watching Giovanni Hidalgo, the conguero, play a five-minute solo. The feelings of awe and inspiration still come to mind when Hinrichs plays congas. Hinrichs feels that what makes a musician better, as well as an inspiration to his audience and bandmates, is when he plays what he feels more so than just playing what he knows. Playing it safe doesnít inspire, but not knowing what comes next is a way of connecting and affecting the audience. Hinrichsí feelings about music certainly come through on his first effort, Q & A. This album is not your ordinary one genre-confined album. Itís a fine mix of all kinds of beats and hard-to-define sounds, making it that much more enjoyable. -Adela Brito \| (email)