Category: Music

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Film/TV Flyer Video Music News

Memphis Flyer Podcast April 3, 2024: Mike Doughty

On Wednesday, April 9, Soul Coughing will play the Hi Tone. It will be only the second time the band has played Memphis. The first was in 1995, when they opened for Jeff Buckley at the New Daisy on Beale Street.

A lot has happened since then. After three innovative albums and a string of hits unlike anything else on the radio, the band broke up acrimoniously in the late 1990s. Bandleader Mike Doughty pursued a solo career which took him all over the world. Ten years ago, he moved to Memphis, where he still resides today.

Last year, the classic lineup of Soul Coughing patched up their differences and embarked on a modest comeback tour. To the surprise of everyone involved, the tour sold out in a matter of minutes.

Now, the band is headed out on the road again, and they’re kicking it off in Doughty’s adopted home town of Memphis. The Hi Tone will be the smallest venue on this leg of the tour, so this is a chance to see the 90s underground legends in an intimate setting.

On this week’s Memphis Flyer Podcast, Mike Doughty sat down with Chris McCoy for a wide-ranging conversation about music, Memphis, and life.

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Music Music Features

All the King’s Heroes

If there’s one thing Preston Lauterbach excels at, it’s creating an almost novelistic sense of place in which his thoroughly researched histories can play out. It’s something many noted about his ambitious surveys of Memphis in the 19th and 20th centuries, Beale Street Dynasty: Sex, Song, and the Struggle for the Soul of Memphis and Bluff City: The Secret Life of Photographer Ernest Withers, which conjure up scenes of a city buzzing on every corner, before zooming in to the subjects at hand.

That also applies to his latest work, Before Elvis: The African American Musicians Who Made the King. True to its title, Lauterbach, who proclaims from the start that “Elvis Presley is the most important musician in American history,” delves into the stories of those geniuses of 20th-century Black culture who inspired Presley and made him what he was, offering a deep appreciation of their music and their lives as he does so. But he also evokes the sea in which they all swam, as waves of disparate cultures crashed on the bluffs of Memphis at the time. 

“The city in the years between 1948, when the Presleys moved there from Tupelo, Mississippi, and 1954, when Elvis recorded his hit debut single,” Lauterbach writes, “was the type of furnace in which great people are forged, fundamentally American in its devastating hostility and uplifting creative energy. Elvis came of age in a revolutionary atmosphere.”

And yet Lauterbach’s first deep dive is, counterintuitively, into the Nashville scene of the ’40s and ’50s. The revolution in radio going on there may have been the Big Bang of rock-and-roll itself, and a hitherto unappreciated element of Presley’s exposure to African-American music in Tupelo, as the 50,000 watt signal of Nashville’s WLAC carried it “from middle Tennessee to the Caribbean and Canada.” When pioneering DJ Gene Nobles broke precedent and began playing African-American jazz, R&B, and blues, he “cracked the dam of conservative white American culture,” and that included Tupelo, a full two years before the Presleys moved to Memphis. 

This, Lauterbach posits, was the most likely way a young Elvis would have heard Arthur Crudup’s “That’s All Right,” prior to making his own version a hit some years later. It had already been a hit for Crudup, who very likely did not play in Tupelo, as Presley later claimed. And from there, Lauterbach begins his fine-grained appreciation of Crudup’s life and career, including the ascent of “That’s All Right” up the charts in the ’40s, fueled in part by its spins on WLAC. 

Zooming out for context, cutting to close-ups of Black artists’ lived experiences, and periodically panning over to how young Presley soaked it all in are what make this book a tour de force of both history and storytelling. A host of African-American innovators are celebrated along the way: Willie Mae “Big Mama” Thornton and her “Hound Dog,” Herman “Little Junior” Parker and his “Mystery Train.” But lesser knowns also receive their due. The influence of guitarist Calvin Newborn’s performance style, and brother Phineas Newborn Jr. along the way, is thoroughly explored, with Newborn’s anecdotes of Presley’s presence on both Beale Street and the family dinner table. And we read the tale of Rev. W. Herbert Brewster, the African-American minister at East Trigg Baptist Church, who not only composed classic gospel songs, but pioneered multiracial services in the Jim Crow era. One direct result of that was Presley’s regular attendance there. But Brewster’s story also reveals how mercenary the music publishing game was, as Mahalia Jackson and her accompanist Theodore Frye claimed at least one of Brewster’s compositions as their own.

Lauterbach does not shy away from the matters of song theft or cultural appropriation that continue to haunt Presley’s legacy. But he notes that Jackson’s usurpation of Brewster’s rights to his own song “was a theft as bold as anything Elvis Presley has been accused of and worse than anything Presley actually did.”

Tellingly, Lauterbach reminds us of the courage it took to blur color lines that seem so hard and fast to many Americans, and for many African Americans this was seen as a positive change. In the final pages, we return to Calvin Newborn’s assessment, who harbored no bitterness over his protégé’s success: “He was a soulful dude.” 

Preston Lauterbach will discuss his new book with Robert Gordon at the Memphis Listening Lab on Friday, April 4th, 6 p.m.

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Fun Stuff Music Music Blog

KrafTwerk Stuns With Their Buns

Kraftwerk at the Overton Park Shell last Tuesday (Photo: Alex Greene)

Last week, the Overton Park Shell hosted a remarkable show by the band Kraftwerk as part of its Shell Yeah! benefit concert series. The group has long been hailed as pioneers of electronic dance music, but, more than that, as world-building conceptual artists in their unyielding pursuit of a vision. That vision was on full display last Tuesday, and clearly touched a wide swath of the Memphis music community, who had turned out in force. “I think everyone I’ve ever met in Midtown is at this Kraftwerk concert right now,” quipped one music fan on social media. “It’s like a family reunion with synthesizers.”

Yet, while there was much moving and grooving in front of the Shell stage, there was a disappointing lack of the very style of dance that the German synthesists have doggedly promoted throughout their career, even in their choice of a band name. Of course, I’m talking about Twerking.

As with much music aimed at a popular dance, from the Twist to the Pony, it’s difficult to say if Kraftwerk actually invented twerking or were merely inspired by what they saw in the discotheques of 1970s Düsseldorf. But the dance has been associated with them ever since they celebrated it in their very name, which was originally rendered as KRAF-Twerk.

Founders Ralf Hütter and Florian Schneider soon found that name either too obvious or too obscure, depending on the source, and quickly settled on the simpler spelling. But early demos, unreleased at the time, have made it clear that KRAF was an acronym denoting “Kinetic, Repetitive Ass Flexing.”

On the demo, an unused track titled “Twerk-Tanz Automatisch” from the Autobahn sessions, thus far only available on bootlegs, a voice intones, with deep gravitas, first the words “Mit gebeugten Knien tanzen” (dance with bent knees), then “das Gesäß betonend!” (emphasizing the buttocks!), before initiating a vocoder-steeped chant in English of “Kinetic! Repetitive! Ass! Flexing!”

Clearly the group was onto something, and the video above, from Detroit circa 1981, reveals how their trademark dance craze was soon being adopted internationally.

And it still is overwhelmingly popular in Germany and across the world to this day, as seen in this video with nearly 848.5 million views:

Yet there was little evidence of twerking at Kraftwerk’s triumphant Shell appearance. That’s not say it wasn’t going on at all, however. The dance is fully incorporated into the band’s method, just as surely as cycling, programming, and 3D projections. As Hütter himself revealed in a rare interview with Der Spiegel, “Diese Tanzmethode ist entscheidend für unsere künstlerische Praxis” (This dance method is crucial to our artistic practice). “Wir twerken immer still hinter unseren Podien” (We’re always twerking silently behind our podiums).

Kraftwerk behind their podiums (Photo: Alex Greene)

Visit this link on the Overton Park Shell website to learn about future concerts in the Shell Yeah! benefit concert series.

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Music News

Memphis Flyer Podcast March 27, 2025: Rock ‘n’ Soul

This week on the Memphis Flyer Podcast, we have a special guest. John Doyle of the Memphis Rock ‘n’ Soul Museum joins Alex Greene to talk about moving the museum and the Memphis Music Hall of Fame to Beale Street.

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Music Music Blog

Terry Manning, Producer/Engineer at Ardent and Beyond, has Died

Terry Manning at an exhibit of his photography in Boston (Photo: Josh Reynolds)

Terry Manning, the pioneering producer, musician, and photographer who was the first staff engineer at Ardent Studios and worked with many of their greatest artists, from Big Star to Led Zeppelin to ZZ Top and beyond, died yesterday, March 25th. Musician Robert Johnson, a friend of both Manning and ZZ Top’s Billy Gibbons, informed the Memphis Flyer that Gibbons had shared news from Manning’s wife that Manning suffered a sudden, fatal fall in the early hours of the morning at his home in El Paso, Texas. An official cause of death has not been made public at this time. He was 77.

This comes only two months after Manning released his latest album, Red and Black, the latest in a series of strong efforts from a very active career in music. He was also physically active all his life, according to the bio on his website, captaining the soccer team at then-Memphis State University in his youth, and running marathons and coaching racquetball later in life. His passing has come as a shock to his friends and colleagues.

Johnson, who worked closely with Manning by way of his music career and continued to be in touch in recent years, says, “He was the epitome of health. I remember him being a vegetarian early on, and he never smoked and never drank. He never partied. He always just worked.”

And work he did, chalking up nearly 200 credits as a producer and even more as an engineer since the 1960s. Over more than half a century, he worked with Booker T. & the MG’s, Shakira, Isaac Hayes, Otis Redding, Iron Maiden, Bryan Adams, the Tragically Hip, Johnny Winter, the Fabulous Thunderbirds, Jason and the Scorchers, the Staple Singers, Molly Hatchet, George Thorogood, Al Green, Widespread Panic, Shania Twain, Joe Cocker, Joe Walsh, Lenny Kravitz, and many others.

After moving to Memphis from Texas, he attended Memphis State and played keyboards for the band Lawson & Four More. That was when Johnson first met him, and the two soon became close. When I spoke to Manning in 2018, he said of Johnson, “We’re good friends. I worked with Robert quite a bit. Quite a character. Someone I just love dearly.”

“The first time we really locked horns,” Johnson recalls, “was at the Battle of the Bands at the T. Walker Lewis Community Center. One band would be under one basketball net, and the other band would be under the other. And so you’d play a set, and then all the kids would just move back and forth. At the end of the night, they’d all put their ticket into the hat and vote. Every time, we’d always lose to Terry Manning’s band. Lawson & Four More were a good band, and they had the world record of winning the Battle of the Bands at that little place. All their fan base was in that neighborhood.”

Even then, Manning was prone to experimenting to take the music further. “He had this little trick with the organ. It was a Doric, a German off-beat organ. And he would take Mercury dimes, these really thin 10 cent pieces, and make a chord, and he would stick the dimes between the keys, and they would just hold down this chord. His amp would have all this distortion, and he would take his hands and move and spin around. I mean, it was almost like seeing Jimi Hendrix playing the organ. It was just totally incredible. You thought the organ was playing itself.”

Before long, Manning began working as the first staff engineer at the fledgling Ardent Studios, engineering sessions for Stax Records when their main studios were overbooked, and both working the board and playing when the studio supported local rock bands, including Chris Bell’s Icewater and Rock City, which went on to become Big Star after Alex Chilton joined them. Manning was also deeply involved in Chilton’s solo recordings just before the Big Star era, as the singer-songwriter sought to define his sound after leaving the Box Tops, ultimately released on the retrospective 1970 album. And Manning masterminded his own solo psychedelic album, Home Sweet Home, at the time — now widely celebrated.

Terry Manning in the early days of Ardent Studios (Photo: Chris King)

Earlier, while playing with Lawson & Four More, Manning befriended Jimmy Page as he was touring with the Yardbirds, leading Page to work with Manning years later during the mixing of Led Zeppelin III, as detailed in this Memphis Magazine story.

Perhaps his greatest success was with the band ZZ Top, who recorded several albums at Ardent. “When ZZ Top started making ‘Gimme All Your Lovin” and those other Top 10 songs,” Johnson says, “those sounds were all Terry on the Oberheim keyboard and drum machine, programming drums and keys. He was MIDI-ing up the bass and coming up with those drum turnarounds. Of course, Billy Gibbons is a good drummer and probably did some of that programming down in in Texas, but then Terry came in and totally took it to the next level.”

Manning later moved to London and worked at Abbey Road Studios, then moved to the Bahamas as Chris Blackwell’s partner at Compass Point Studios, where he worked for over 20 years.

Terry Manning (right) at Ardent Studios with James Taylor and Peter Asher (Photo: Courtesy Terry Manning)

In more recent years, Manning leaned into making his own music again, releasing the albums West Texas Skyline: A Tribute to Bobby Fuller (2013), Heaven Knows (2015), Planets (2016), and Playin’ in Elvis’ House (2019), recorded live in the former home of Elvis Presley on Audubon Drive.

He was also a highly respected photographer, publishing two books of his work. In 2016, his work was featured in the Stax Museum of American Soul Music’s exhibit, “Scientific Evidence of Life on Earth During Two Millennia.” The exhibit showcased both Manning’s urban landscapes and his portraits of luminaries ranging from British singer Dusty Springfield to civil rights hero Martin Luther King Jr.

But his studio wizardry, informed by his highly musical ears, was arguably his greatest accomplishment. As Johnson notes, “I’m sure Terry learned a lot of things from [Ardent’s] John Fry, because Fry was a little older than Terry, and was more of a mechanical nerd with the tape machines and compressors and all that, but Terry soon surpassed everybody. It didn’t take long before he was probably the number one guy in town. Other engineers just didn’t have that sparkle that he had. I’ve worked with great engineers, like Glyn Johns and Bill Price, but I’ve got to tell you, my favorite engineer of all time is really Terry Manning. He taught me so much about audio electronics and all of John Fry’s techniques. And he just really opened my mind to a world of creativity that I didn’t have. He just flat out knew how to make a record, you know?”

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Music Music Features

Wide Appeal for The Narrows

The Narrows (Photo: Michael Donahue)

Not many bands can say audience members created a dance to one of their songs.

The Narrows can, thanks to their song, “The Wheel.”

“I think it’s still the crowd favorite,” says singer/rhythm guitarist Owen Traw, 23. “I think people like how it sounds. People know some of the lyrics.”

And, he says, there’s “a dance during that song.”

“It’s like a bunch of little hand movements that fit whatever the lyrics are saying,” says bass player Bella Frandsen, 22.

One of the lines is “Don’t fall asleep,” says Traw, who wrote the song. “People make a negatory motion with their hand, like wagging their finger. Then when I say, ‘Fall asleep,’ they fold their hands under their heads like they’re sleeping. ‘At the wheel,’ they make a driving motion.”

People teach other people the dance at their shows, Frandsen says. “There’s an ever-growing number of people doing this silly dance.”

There’s also an ever-growing number of people going to shows featuring The Narrows. The Memphis rock band also features Aidan Smith, 25, on vocals and guitar, and Chris Daniels, 20, on drums. The band will open for Juicy J on April 5th in the Bryan Campus Life Center at Rhodes College as part of the school’s Rites of Spring.

“The Wheel” was the band’s first single. “Our best song at that time,” Smith says. “The one that got the crowd going the most.”

“I wrote it when I was really sick,” Traw says. “I still have the voice memos of that moment when I was trying to make sure I didn’t forget it. “

He had a bad cold. “I was all hunkered up and all gross in my room. I had a chord change in my head.”

The lyrics originated from a drive Traw took to Nashville. It was bumper-to-bumper traffic, but people were speeding. “If anybody hit the brakes it would have been really bad. It’s basically just about the feeling that one’s decisions have really big impacts.”

It was Traw’s idea to form a band about a year ago. It became The Narrows. “I started the band basically because I really wanted to express myself artistically, but I didn’t know how,” he says. “I wasn’t a musician or anything.”

That changed after he saw Smith in One Strange Bird. “A band I formed with some friends from Rhodes a few years ago,” Smith says. “We were playing really shitty bars and stuff like that.”

“Aidan really blew me away,” says Traw, who thought, “Dang, he’s so good. I wish I knew how to play music.”

Traw already played some guitar. “I could play ‘cowboy chords,’ as they call them, on the guitar, but I couldn’t play barre chords or hold a pick.”

He was impressed with “the way Aidan played the guitar. It’s a really cool mix of rhythm and lead playing. The kind of stuff Jimmy Page does. Or Jimi Hendrix. Playing guitar and lead at the same time and it’s really melodic. Just really catchy and good, too. Tasteful.”

Traw originally met Smith when they were at Rhodes. “We met very, very briefly. We had one conversation, really, where I told him he looked like Kurt Cobain.”

He got Smith’s phone number, texted him, and asked him if he wanted to be in a band.

“He had a demo that was circulating through the friend group,” Smith says. “So I knew who he was. When he said, ‘Let’s jam,’ I was like, ‘Yeah. For sure.’”

As for Traw’s guitar ability back then, Smith says, “He’s being a little modest. He could play a little bit of guitar.

“I remember him playing four or five songs. I thought all of them were really pretty good.”

The songs “were all well constructed and sort of in a tradition I love from the ’60s and ’70s music. I saw the nuances and jumps from verses to choruses and back. And the way that the melodies would work with the chords when he was playing.

“That night I think we wrote a song together.’”

The song was “Waste,” Smith says “It was an idea that I had that we just fleshed out based on an experience with DMT, the psychedelic. A drug I had taken years before that. I really wanted to write a song about it. And Owen really helped me out with the lyrics.”

Recalling how he felt on the drug, Smith says, “It made me feel like all comfort and warmth was gone from the world. I was looking at the sunshine in my parents’ backyard and it was kind of frightening. It was a frightening and beautiful experience. I was doing a lot of it then. That was when I was 18 or 19.”

Traw eventually became comfortable playing guitar. “I definitely got to the point where I could play guitar a little bit better,” he says. “I almost learned through osmosis because Aidan is so good. The way he would move his right hand to strum and hold the pick. Or what he would do with his fingers on his left hand. I would basically just watch him and try to do that.”

He and Smith began playing together in public. “At that point Aidan and I were writing songs on acoustic guitars and playing open mic nights. We wanted a band, but we didn’t know who would be the drummer, who would play bass.”

They began auditioning drummers. Born in Memphis, Daniels began playing drums at age 5. “I was born in the church, so I always watched church musicians. My uncle [the late Bernard Wilson] played drums as well. He kind of got me into it.”

Daniels was in the jazz band at Ridgeway High School and Middle School. He’s currently in the jazz band at University of Memphis.

As for what makes The Narrows different, Daniels says, “You have your punk rock and stuff and all that jazz, [but] I think our music is different because we talk about real life events. And it’s basically like therapy, like you’re talking to a counselor or something like that.”

Traw was impressed when he learned Daniels played drums in jazz groups. “I played jazz drums but had long since quit. But I know jazz takes a lot of musicality, and it’s really difficult to play. And with Chris, you could tell he had serious chops.”

They then interviewed bass players. Frandsen, a Rhodes student from New York who already was a friend of Traw’s, felt confident when she auditioned for them. “I really just clicked. I got along with everyone and everything worked really well.”

Smith thought Frandsen was “super intuitive” when they were working on their song, “Ice About to Melt.” “I played off the bass line that she had dreamed up,” he says. “That became a main figure in the chorus of the song. I could tell she was really super musical and an overall musician instead of strictly a bassist.”

The band name came from the Tacoma Narrows Bridge, twin suspension bridges spanning Puget Sound’s Tacoma Narrows strait in Washington.

“I also think ‘The Narrows’ is pretty evocative even if you don’t know what the body of water is,” Traw says. “In my head, it made me imagine scrawny figures.”

The group, which has been touring, recently played shows with their friends in Smokies, a band from Jackson, Mississippi. They’re planning a “more serious tour this summer.”

The Narrows also completed its first EP, Sloth & Envy, which the group recorded at Easley McCain Recording and Young Avenue Sound.

Describing the EP’s cover he designed, Eli Schwartz says, “It evokes a feeling of being lost, helpless, and feeling like a stranger to yourself. Wondering who you are and coming up empty handed.” 

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Music Music Blog

Gonerfest 22 Rears its Giant Fish Head, Announces Lineup

W.I.T.C.H. (Photo: Izzie Austin)

Rising up from the murk and mud of the underground, Gonerfest 22 has emerged in the form of a gigantic bipedal fish to announce what will be in store this fall, from Thursday, September 25th, through Sunday, September 28th, 2025. And with many puzzling over the apparent closure of Railgarten, Gonerfest’s host since 2021, it comes as a relief to hear that this year’s festival has found a new home at Wiseacre Brewery on Broad Avenue.

The big news, of course, is that the fest will be headlined by “Zamrock” legends W.I.T.C.H. (purveying Zambia’s unique blend of traditional African sounds and psychedelic rock) and Missoula/Seattle indie rockers Silkworm. Also included in the initial list of confirmed bands are Sydney, Australia’s (via L.A.) “egg punks” Tee Vee Repairmann; Athens, Georgia’s rockers Pylon Reenactment Society; Auckland, New Zealand’s post-punks Guardian Singles; Sydney’s garage punks Itchy & the Nits; and up-and-coming Chicago popsters Sharp Pins.

Part of a rich flowering of edgy psychedelic rock in Zambia, W.I.T.C.H. (an acronym for “We Intend To Cause Havoc”) were formed during that country’s golden post-independence days, headed by lead vocalist Emanuel “Jagari” Chanda, and were soon embraced as one of the greatest “Zamrock” bands of the 1970s. With the economy collapsing at the end of that decade, and facing increased government authoritarianism, W.I.T.C.H., like most Zamrock bands, were reduced to playing daytime shows to avoid the curfews, then faded away. Cut to 2012, when Chanda was invited to the U.S. to perform. In 2013, “New Witch” began touring again with a lineup including Chanda and new members from the Netherlands, Germany, and Switzerland. The band’s previous discography has also been re-released.

Silkworm, meanwhile, formed in 1987 and released nine influential albums and many singles, EPs, and compilations over an 18-year period, as well as touring worldwide in North America, Europe, and Asia, notably playing every state in the continental U.S. (except Delaware, for some reason). The group recently played together as a dual-guitar quartet, for the first time in thirty years, at Steve Albini’s memorial in 2024, and the experience was so rewarding that they began to discuss regrouping for some additional events — which now will bring them to Gonerfest.

Silkworm (Photo courtesy Goner Records)

Early Bird Gonerfest 22 golden passes go on sale March 19th at 10 a.m. CDT. They are $150 each for entry into all official shows. Single-day passes will be available at the door, according to venue capacity. For more info and tickets, click here.

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Music Music Features

The Glass Key Trio

The Glass Key Trio (Photo: Courtesy Jeremy Bleich)

A lot of bands can be described as “improvised music,” and that’s the beauty of the genre. Straight-ahead jazz has improvised solos built in, of course, yet generally that’s over a framework of complex chord changes. More rock-oriented groups will simply lay down a drone, grind out riffs, or rely on blues changes. I’ve been told the legendary Grifters would often facilitate freestyle moments in their live sets by having sheets of paper marked with chord names, like “C” or “A-flat,” laid out on the stage. They would wail for a while, and when one player wanted to shift gears, he would point to a new chord and the rest would follow suit. To audiences, it seemed like sheer telepathy. 

This Thursday, March 20th, the Lamplighter Lounge will present a case study in two approaches to improvised sonic adventure. The opener will be Turnt, who have enjoyed a Sunday residency at the Lamp for years now, often with a rotating cast of players. They’re not always strictly improvised, but that’s often the starting premise, and they arrive at it from a decidedly rockist orientation. The true “soloist,” as it were, is drummer Ross Johnson, who’s been globally celebrated for his off-the-cuff verbal rants since 1979’s “Baron of Love, Pt. II.”

Turnt (Photo: Courtesy Skyline Records)

That recording, of course, was made in cahoots with firebrand Alex Chilton, but more recently Turnt, too, have shown off Johnson to great effect. You can hear his magic on Bandcamp on such tunes as “Methadone Takeout Card,” “Twelve Hours on a Respirator,” or “Merry STD Baby,” where the verbal pugilist is backed by core Turnt members Scott Taylor (of Grifters fame), Bill Webb, and Hans Faulhaber. Though Taylor was sidelined by a stroke about a year ago, from which he’s now heroically fighting his way back, the band carries on. And while Johnson claims to have sworn off his ranting, we fans will believe it when we see it. 

After their set, some fresh faces will take the stage: The Glass Key Trio from Santa Fe, New Mexico. As Faulhaber quips with characteristic humility, “They can actually play!” 

Indeed, band leader and guitarist Jeremy Bleich studied composition at Cleveland State University, mostly playing bass and classical guitar at the time. And his trio’s debut album, Apocalypse Fatigue, led to two nominations in the 2023 New Mexico Music Awards, including Best Jazz Album and Best Instrumental Song. Yet when I note to Bleich that the Lamplighter Lounge doesn’t often play host to award-winning jazz groups, Bleich lets out a hearty laugh. “Actually, the thing that we’re not used to is playing in jazz rooms, to be honest,” he says.

“It’s interesting. The word jazz means different things to different people,” he goes on. “And I think the way that jazz is marketed or presented in certain venues can sometimes be codified in a way that we would definitely be excluded from. In my view — and I’ve played a lot of straight-ahead jazz in my life, too — I feel that jazz should be a living, breathing thing, and it always brings in different elements of music. A lot of the jazz that I’ve played has been influenced by so much music outside of bebop or straight-ahead jazz. Our music has a lot to do with other traditions, some of which are improvised, like Balkan music or bluegrass or American folk. I don’t really see much of a division between them. And a lot of the leading people that I’m listening to in jazz music are definitely interested in all of those different things, including punk rock.”

Although parts of Apocalypse Fatigue sound a bit like Bill Frisell if Frisell listened to more Wire, you won’t hear much punk per se on The Glass Key Trio’s album — yet it’s clearly in Bleich’s musical DNA. That goes back to his post-collegiate years in New York. “In the ’90s and the 2000s, the Downtown New York scene was kind of centered around the things that John Zorn was involved in, and his Tzadik label. I played with a group called Birth, and we did a lot of playing in New York at that time, with a lot of those guys who were on that label. They were all into, you know, klezmer music or Balkan music or Arabic music. I played the oud a lot, and that kind of came from that scene, which was reaching for something outside of straight-ahead jazz, for sure.”

Nor do the other two members of the trio limit their definitions of “jazz.” Drummer Milton Villarrubia III comes from a respected musical family in New Orleans. “He’s an old friend of mine,” says Bleich. “We’ve been collaborating on so many different styles of music and groups over the years. He ended up moving to Santa Fe the night of Hurricane Katrina, trying to get to the highest ground he could. And he’s an amazing drummer. He’s got this thing that only New Orleans drummers have, which is this deep, easy pocket that’s just so easy to play to. And then he can turn on a dime, and just play completely free.”

You can also file bassist Ben Wright under “free,” though he’s equally at home with more structured music. Many Memphians have enjoyed performances by his renowned father, saxophonist Jack Wright, whose Wrest trio was brought here by Goner Records, in a show at B-Side Bar. While Bleich’s music is clearly composed, he has an open approach to the band’s interpretation of his music, especially with newcomer Wright inheriting his father’s proclivities. “Ben can really go there,” Bleich enthuses. “He was raised in that [free] tradition. So, you know, The Glass Key Trio’s music is kind of taking on a whole new kind of life from the improv element. It’s a little freer. It’s a little more sound-based, and so I’m excited to explore those elements as well.”

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Music Music Blog

Immersion + SUSS = Nanocluster

Immersion (Photo: Ben Newman); SUSS (Photo: Bob Krasner)

When Colin Newman and Malka Spigel started their synthesizer duo Immersion back in the 1990s, part of electronica’s appeal was the chance to reinvent oneself. “We were very into the electronic music when it started; it felt like a fresh movement.,” says Spigel. “It freed us from our past, and we could start fresh ourselves, without people’s expectations of what we did before.”

“Yeah, there was an element in a lot of dance music at the time of it didn’t really matter where it came from,” adds Newman. “It didn’t matter who the people were, what gender they were, what color they were, or what language they spoke, because it was instrumental music. So I think for the first time in the history of what you might call popular music, you lost that kind of axis of basically Britain and America — and in Britain, Jamaica — really having the majority of the markets. Suddenly you could really come from anywhere. And that really opened up the whole scene. Although the roots of techno were in Detroit, and roots of house were in Chicago, they were not adopted at the same level in America as they were in Europe. So Berlin and other places, you know, became centers of techno, and that was kind of interesting.”

Newman, of course, had already sought out and created alternatives to the usual pop fare with Wire, whose debut, Pink Flag, with its stop-start breakdowns, semi-spoken/shouted vocals, and angular riffs created a stir in the music world of 1977. For the band at the time, though, punk was already a cliche: They were rejecting both classic rock posturing and punk posturing at the same time. They were, perhaps, the first example of “post punk.”

And yet, as Newman pointed out years ago on The Guestlist podcast with Sean Cannon, “There was no such thing as post-punk. We were just ‘not punk.’ But we were not punk in a way that was familiar with punk already.” Wire was thus premised on reinvention. “Punks hated us … Our songs were too short or they were too slow. We were too weird. We were too arty. We looked wrong.”

By the 1980s, with Wire and his own solo albums, Newman was still questing for new, unique sounds, and in 1985 he came to produce an album for the Israeli synth band Minimal Compact, which included Spigel. They became a couple and eventually married, as both explored the potential of synthesizers in their separate projects. Ultimately, they formed Immersion and released Oscillating in 1995.

And reinventing themselves was part of the appeal of electronica at the time. As Spigel says now, “We liked how mysterious the artists were. Even the famous ones were kind of hiding, not really showing who they were. And the music, of course, was inspiring.”

Embracing the sonic world of synthesizers has served them well, and since 2021 they’ve expanded Immersion’s sound to include collaboration with other artists, under the umbrella term of Nanocluster. The debut Nanocluster album saw Immersion collaborate with Stereolab’s Lætitia Sadier, German post-rock duo Tarwater, and electronic musicians Ulrich Schnauss and Scanner. Released in June 2024, Nanocluster, Vol. 2 had guests Thor Harris — the charismatic percussion player from Swans and Cubzoa — and Jack Wolter from Penelope Isles. And this year has seen the release of Nanocluster, Vol. 3.

On the new album, the couple are collaborating with the American “ambient country” band SUSS, described by Uncut magazine as “Eno’s Apollo Atmospheres crash-landed in America’s Sonoran Desert,” and by Pitchfork as “Neither rawboned nor ramshackle … their elegantly composed brand of ambient country stands as tall and clean as a brand-new pair of cowboy boots.”

A trio of veteran musicians Pat Irwin (the B-52s, Raybeats, 8 Eyed Spy), Bob Holmes (numun, Rubber Rodeo), and Jonathan Gregg (the Combine, the Linemen), SUSS combine traditional instruments like pedal steel, National steel guitar, mandolin, harmonica, baritone guitar, and harmonium with synthesizers and loops to create their a spacious, cinematic sound.

This sense of adventure makes them perfect partners for the Nanocluster project. As SUSS’ Bob Holmes notes in a press release, “Collaboration is an important aspect of the type of music SUSS makes. Whether we are collaborating with each other, or with musicians and artists outside of the band, the exploration and discovery of the unknown is central to our creative process. When Colin & Malka approached us to collaborate with them on Nanocluster, it seemed like a perfect fit. Their use of rhythm, synthesizers, bass and atmospherics felt very complementary to our instrumentation. As expected, the results were unexpected and our music was taken to a place where we would not have gone otherwise.”

Unexpected results can be good or bad, as Spigel points out. “It’s risky. There’s always nervous moments where you think, ‘Is it gonna work? Do they get the concept? Do we find a common ground?’ But surprisingly, so far, we’ve found a really beautiful common ground with every artist we’ve worked with, and we end up being friends. So that’s good.”

A common thread runs through every Nanocluster project, in that every album is ultimately initiated and brought to a close by Immersion. As Newman notes, “The thing that all the collaborations have in common, certainly from the recording side, is that we always finish and mix it, just to give it some kind of sense of continuity, and we do that with absolute inclusion of everything that our collaborating artist has given us. And they can say anything they want about how it ought to be. I mean, SUSS’ way of mixing is very different to ours. We tend towards something which you can hear all the all the nuance on it. They tend to like mix a bit more like jazz.”

Spigel adds, “But they’re into space, which is one of the things that draw us to them.”

The modern miracle of file sharing has been critical to Nanocluster. “With SUSS, they would send us four or five tracks with sounds that we could play over, and we did the same for them, and we built what ended up being the album,” says Newman. “It was all done remotely — actually, before last week, we never met them. We met them for the first time in New York when we rehearsed.

“I think once they kind of realized and trusted us that we could actually finish this off and produce something that was really something that we could all be proud of, that was probably the hardest moment. Once we were past that moment, then we started going very much into their world, and then finding what we could do that was really out of SUSS’ aesthetic. One is vocals. ‘In the Far Away’ started off as almost a kind of neoclassical piece, with the cycling pianos and that kind of vibe. And then Malka was like, ‘I think I’ve got a vocal for this.’ And so we put the vocal on it, and sent it. And they were like, ‘We love it!’ Also, having drums, which are a thing that SUSS don’t have, but actually they were encouraging all of this to be harder, tougher.”

Finally, as Spigel points out, “I think we did what felt right, within the music. It’s about what’s right for the piece.”

The latest Nanocluster collaboration will appear at the Green Room at Crosstown Arts Tuesday, March 18, at 7:30 p.m., with each band performing their own set before joining together for a third set as Nanocluster.

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Yo-Yo Ma in Memphis

Yo-Yo Ma (Photo: courtesy Memphis Symphony Orchestra)

It has been said that if a person can count on the fingers of one hand all the musical experiences that transport you to another realm, then you are very lucky indeed. The Memphis Symphony Orchestra’s concert on Tuesday, February 25th, with guest cellist Yo-Yo Ma was just that — a transformative and life-affirming experience.

Playing to a glittering (black-tie optional), excited, sold-out audience, Maestro Robert Moody and his talented Memphis Symphony Orchestra musicians not only rose to the occasion, they uplifted their rapt listeners.

The orchestra opened with John Williams’ “Superman March,” a well known favorite from the movie Superman. What followed was a splendid performance of Death and Transfiguration by the great German composer Richard Strauss. A tone poem, this Opus 24 is surely one of Strauss’ highest achievements. Written for a large orchestra, demanding of every player, the reading by Maestro Moody and our symphony was a triumph in every way. Bravo’s echoed throughout the Cannon Center.

Okay, let’s be real. Yo-Yo Ma was the reason for the sell-out. Rightly so. He is a consummate artist, not only as a musician, but also as a human being. His ability to draw every member of the orchestra, every member of the audience, into his world is nothing short of astounding. The cello concerto by Antonín Dvořák is a masterpiece. The performance by Yo-Yo Ma and the Memphis musicians transported the audience into the heart and mind of a great composer, and told his story.

Then, encore! Yo-Yo loves to spotlight local talent in every place he visits. On this special night he brought to the stage Memphis’ pride and joy – “Lil Buck” Riley, who is known for a style of street dance that orginated in Memphis called “jookin.” Now a world superstar, Lil Buck began his career with Katie Smythe’s New Ballet Ensemble. The treat was a dance interpretation of “The Swan” by Camille Saint-Saëns. Yo-Yo and the cello section accompanied.  It was an unbelievably beautiful capstone to a stellar evening of music.