Karlex - Paris - New York - Port-au-Prince

Karlex – Paris – New York – Port-au-Prince
2013, Lil’ People Records

Karlex has been dubbed the Bob Marley of Haiti.  This is a great marketing angle, but a listen to Karlex’ music reveals something more than that.  Paris – New York – Port-au-Prince is a dub-centric world groove that draws in elements of Creole, Afro-Dub, Euro-Pop and American R&B.  The focus here is on the journey from Africa to the Americas, and encompassing the musical and cultural styles of all stops in between.  Karlex uses his own unique style of talk singing throughout the album, creating a sound that is nothing short of iconic.

The arrangements on Paris – New York – Port-au-Prince are a mixed bag of music hall tracks.  Catchy riffs over formulaic dance beats are often the focus.  The spice comes from the mix of musical influences Karlex works in.  He kicks off with the generic and loop-driven R&B of “Sleepless In Bandol”.  This mildly catchy number might garner some low level interest at commercial radio but wouldn’t last long.  Similar things can be said for many of the songs on the album, but the arrangements are not what you’ll ultimately pay attention to.  Karlex has presence.  It comes across on the record and it will certainly come across on stage.  This is a man you will listen to even if you don’t understand the words.  Karlex engages the listener, and projects passion in his powerfully memorable voice.

Other highlights include the messy dance pop of “Migration People”.  This one starts out sounding like it’s going to get lost in itself, but resolves into a wonderfully bright chorus. “Ca Mouin Oue” is the highlight of the album, and infectious piece of jazz-influenced dance pop that will knock around your noggin for a while.  If there is a hit on the album, this is it.  Other key tracks for the dance set are “Restavek”, “O Ma Belle” and “Miami Beach”.  Unfortunately, Karlex decides to close out with the overly simplified political message of “No More Lies”.  While the message is admirable, the repetitive nature of the song is a turnoff, and the depth of the political commentary is paper thin.

Karlex establishes himself as a talented but unfocused force on Paris – New York – Port-au-Prince.  His overall message is seeded in real life experience, and fits in nicely with current socio-political trends, but loses its elemental power amidst sometimes messy and often repetitive dance beats.  Karlex’ voice and presence are likely to keep him in the public eye, however, and may even overcome some of the more glaring weaknesses of the album.  There will certainly be some momentum for Karlex on the dance scene, particularly once a producer or two remixes and cleans up some of the messier tracks on the album.

Rating:  2.5 Stars (Out of 5)

Learn more at www.facebook.com/karlexmusic

Midwest Hype - Dayglow

Midwest Hype – Dayglow
2012, Midwest Hype

It’s been nearly ten years since the seeds of Midwest Hype first sprouted.  Singer/guitarist George Matthew Prellowitz met drummer Max Kepler and bassist Nate Miller and the three began jamming together.  Moving on the Ball State University together, they later added Kevin Krismanich (keys), Ben Morrisey (sax) and Scott Whitford (trumpet).  The band’s eclectic mix of hip-hop, reggae, funk and jazz have made them a local Indie favorite in Chicago, and with the addition of MC Justin “Ideal” Diehl in 2010, Midwest Hype seems as if they have finally come of age.  Their latest release, the Steven Gillis (Filter) produced Dayglow, plays on the band’s strength and musical diversity to create a true listening experience.

Dayglow kicks off with the wonderfully flowing mish-mash of “Behind Our Eyes”, vacillating between ska-tinged pop and rap.  The song is all about making the most of the day but never losing hope over chances missed.  The horn section helps to fill out the sound and make it all flow together.  “Elastic Booty Shorts” is all about having a good time and enjoying the moment.  With rap verses and a spoken/song chorus, this song has all sorts of commercial appeal given current musical mores.  “All Is Water” digs in with a sophisticated island groove blended with a pop-ballad sensibility.  In another era this would be top-40 gold; as it is expect this to be a concert favorite for the band (lighters and cell phones). 

Midwest Hype gets a generic reggae groove on for what turns out to be a middle of the road pop ballad.  The instrumentation here is complex and enjoyable, but the song itself just never quite takes off.  Things get a bit edgier on the motivated and energetic “Do Or Die”.  Everything falls into place for Midwest Hype on this number, an eminently catchy and danceable number that plasters itself to the inside of your skull and declares residency the first time you hear it.  Dayglow closes on a full-on reggae groove in the form of “People Of America”, a celebration of our ability to make the most of our own world.  “People Of America” takes the current mood of national pessimism and turns it around, putting the responsibility for tomorrow where it has always been, in our own hands.  Along the way, Midwest Hype pays tribute to Bob Marley’s “Don’t Give Up The Fight” with a four-line melody snippet that recurs as the primary theme.

Midwest Hype isn’t all hype on Dayglow, seamlessly blending rap, reggae, jazz, pop and R&B into a multi-rhythmic confection that just might turn out to be pop gold.  There have been bands before Midwest Hype who have tried to bring all of these sounds together, but it would be hard to find one who has done it better.  The ideas behind Dayglow are positive, idealistic and full of the energy of youth.  Folks over thirty or gone cynical might have a hard time digging the lyrical wash that Midwest Hype creates.  Anyone still seeing the world through rosy lenses will dig Dayglow hard.  Anyone who has moved on will be reminded of what the world looked like when they were young.
Rating: 4 Stars (Out of 5)

Learn more about Midwest Hype at www.myspace.com/midwesthype or www.Facebook.com/midwesthypemusic. 

Sean Waterman - Enough

Sean Waterman - Enough
2010, Sean Waterman

Atlanta’s Sean Waterman fell into music early, catching the guitar bug while in 4th grade. The Brooklyn-born singer/songwriter, now 23, has written a prodigious number of songs in the singer-songwriter tradition, and has even had some of his work performed by South Carolina jazz vocalist Ann Caldwell. These days Waterman is gigging in support of his first formal EP, Locomotive Hearts. The first single from that EP is “Enough”. Written in a full acoustic-guitar sound, “Enough” is certainly pretty, but the dynamics never really change throughout the song. It’s a tune about feeling trapped in a relationship where you can never really make your partner happy. Waterman layers on emotional weight with vocal effects; exploring the depths of sorrow, anger and vulnerability, but Waterman never seems to feel any of these. It’s a very well-written tune, but the delivery feels a bit false. It’s as if Waterman wrote the song as an intellectual exercise, but either never really felt what he wrote or just won’t let himself fall into the song completely.

Rating: 2.5 Stars (Out of 5)

Learn more about Sean Waterman at www.myspace.com/seanwatermanmusic.  "Enough" is available as part of the Locomotive Hearts EP, and may be downloaded both as a single as well as part of the full EP from
Amazon.com.

Review: Ted Hefko And The Thousandaires - Egyptland

Ted Hefko And The Thousandaires - Egyptland

2009, A. Ted Hefko

Ted Hefko grew up in Wisconsin, learning his love of music from the diverse artists in his father's collection: Bob Marley, Stevie Wonder, Bob Dylan, Miles Davis, Fela Kuti and Albert King (among others). With school on both guitar and tenor sax, Hefko began playing out in high school. After school Hefko headed down to New Orleans and a degree in Jazz Saxophone from the University of New Orleans, going on to study with Hannah Jon Taylor. Hefko has played for or with such artists as Warren Batiste, Blake Amos, Tondrae, Los Sagitarios and Los Bebes del Merengue. Hefko relocated to New York City in 2004 and has immersed himself in the city's Jazz, Rock and World scenes since then. His latest recorded effort, Egyptland blends Jazz, Southern Funk, Blues, Folk, Rock and Latin styles in almost effortless fashion.

Egyptland opens with The Roofer, a tribute to one of the many displaced from New Orleans by hurricanes (in this case, Betsy). Hefko sounds a bit like Van Morrison here on vocals and inhabits the song's character as if he lived the story himself. Wet Wool In The Rain plays with Latin sounds and Southern R&B in a delicious tune serious commercial potential. Hefko seems most at home on Twenty Three Dollars And Twenty Three Cents, a classic bit of quasi-acoustic blues, singing for all he's worth while his top notch band makes hay in the background. Hefko gets righteously instrumental on The Short Man's Complex, an entertaining tune that will have you be-bopping in your seat or even jumping up to dance. Bad Kids is something of an ode to juvenile delinquency. Not so much a tribute to it, but a retelling of one particular story that may or may not be true. The arrangement is slow and repetitive and wants to lull the listener to sleep. Egyptland closes out with Big Shoes, a pasting of phone queue jazz with some progressive tendencies.

Ted Hefko And The Thousandaires have created an album in Egyptland that runs the gamut from magic to mundane. When Hefko is on his game as a writer the music is inspired, but there are also moments here that are so tired and without energy they put the listener to sleep. Hefko is a passable vocalist with a real love for the music he plays, but the unevenness of the performance across Egyptland is a little disheartening. Closing out on an easy-listening jazz piece was also a bit disappointing, as Hefko's gig seems to be his mix of styles and originality. Nevertheless, Egyptland is a solid release with some issues, but worth checking out.

Rating: 2.5 Stars (Out of 5)

You can learn more about Ted Hefko And The Thousandaires at http://www.ted.heko.net/ or www.myspace.com/tedhefkoquartet. You can purchase downloads of Egyptland at Digstation. CD copies are available through CDBaby.com.

Review: Playing For Change - Songs From Around The World

Playing For Change - Songs From Around The World
2009, Hear Music

Playing For Change is the brainchild of Grammy Award winning producer Mark Johnson. Johnson was on his way to work one day in New York City several years ago and witnessed the tangible response a group of New York City subway denizens had to two musicians on a subway platform. Johnson was reminded in that moment of the power of music to change people, events, etc. From that moment came the seeds of Playing For Change. Traveling first around 4 major cities in the US and eventually around the world, Johnson and his team spent several years filming/recording unknown musicians from the four corners of the earth. On April 28, 2009, Songs From Around The World will become available for sale, and it may just be a life-changing experience for some.

Songs From Around The World opens with Stand By Me, a classic folk take on the Ben E. King/Leiber & Stoller classic with elements of Soul, Reggae and Gospel woven in. The video for this song has been making the rounds on YouTube for months. The singers are Roger Ridley, Grandpa Elliott and Clarence Bekker, performing with a truly international band. The Playing For Change band next tackles Bob Marley’s One Love in an arrangement that sounds like Appalachian Blues gone Reggae (if there is such a thing). The vocal arrangement here is primo, and the instrumentation is as down home as it can get. Marley’s War/No More Trouble is one of the more enjoyable songs on the disc, featuring vocalists including Bono and Bob Marley, but the highlight is the cover of Peter Gabriel's Biko. Performed in an Americana arrangement, this rendition puts a fresh spin on the song while staying true to the spirit of the original. Afro Fiesta's rendition of Tracy Chapman’s Talkin' 'Bout A Revolution is inspired, and Keb Mo' is his incomparable self on Better Man. Another highlight is the Omagh Community Choir's rendition of Love Rescue Me. The album closes out with the Playing For Change band giving a standing-O performance of Sam Cooke’s A Change Is Gonna Come. The accompanying DVD features videos of several of the songs on the CD.

Playing For Change is an acknowledgement of, and a testament to the power of music to change the world. Johnson is witness and messenger to the power of music, seeing an esoteric performance in a subway bond together a hundred or so hard-nosed New Yorkers. Grammy Awards aside, this may be his legacy. The album itself is a great listen and highly recommended for roots music fans, or fans of great music, whatever the ilk. Even on the slower songs the artists on Songs From Around The World give their all; the energy and joy in this music is undeniable.

Rating: 4 Stars (Out of 5)

You can learn more about Playing For Change at http://www.playingforchange.com/. Songs From Around The World goes on sale April 28, 2009. You can pre-order your copy from Amazon.com.

Review: Omar Alexander - Soulare

Omar Alexander – Soulare
2008, Omar Alexander

Latin music has metastasized in popular culture, no longer only a distinct genre but also an influence that creeps into Pop, Rock, Folk, Dance, Hip-Hop and other genres. Latin Rock has existed for years, but has failed thus far to overtake the popular music scene in the United States. That may be about to change. Omar Alexander, the New York City-based bilingual singer/songwriter has released Soulare, an album set to explode into the social consciousness of the music world.

Alexander mixes Latin, Funk and Rock N Roll on Soulare while singing in both English and Spanish. Soulare opens with Bandolero, one of the most infectious rock songs I’ve heard this year. This melody has been with me since I first heard it. I'd sing along if I knew Spanish, but trust me, this one won’t go away. Mueve rocks out in a highly danceable number that is as infectious as you can imagine. Alexander sings with the fire of a gospel singer and rough hewn voice that is sure to effect hormonal fluctuations in his female listeners.

Alexander slows things down a bit on Changes, an R&B ballad with serious chart potential. He returns to good old Rock N Roll on the frenetic Adelante. This song is built on a viral guitar hook and Alexander’s honey/whiskey vocals (don’t forget your dancing shoes). This was my favorite song on the disc, and I think it may also have significant commercial potential. Other highlights include Abandon El Amor, the upbeat funk-laden rocker Shine and Tranquila. Be sure to check out the bilingual cover of the Bob Marley classic No Woman No Cry.

Omar Alexander may be the voice that carries Latin-based rock to the head of the mainstream. His voice is immediately recognizable and unforgettable. The songs on Soulare are infectious and there is a certain mojo to this recording that seems unlikely to fade over time. I don’t know if it will happen with this CD or one that follows, but if Omar Alexander keeps coming with this type of material he’s going to catch on in a big way. Make sure you check Soulare out.

Rating: 4 Stars (Out of 5)

You can learn more about Omar Alexander at http://www.omaralexander.com/ or www.myspace.com/omaralexandersoulare. You can purchase Soulare as a download through AmazonMP3.

Review: Lisa Jaeggi - Demo(nstration)

Lisa Jaeggi – Demo(nstration)
2008, Lisa Jaeggi

Brooklyn-based singer/songwriter Lisa Jaeggi describes her style of music as skateboard acoustic soul. The daughter of Swiss and Japanese parents grew up in the suburbs of Washington, D.C. and attended Guilford College in North Carolina on her way to New York City. In spite of referring to Justin Timberlake as a genius in her media bio we still think she’s pretty cool and talented. Jaeggi’s CD Demo(nstration) is self produced and very compelling. Let’s check it out.

Jaeggi draws from disparate influences including Lauryn Hill, Citizen Cope, Jack Johnson, Sam Cook and Bob Marley; it’s fair to say that you should leave your expectations at the door. Jaeggi marches to her own drummer and you’re better off just trying to keep up with her rather than getting bogged down in pre-conceived notions. Jaeggi opens with Oh Lady You Shot Me!; a gritty folk-pop song reminiscent of Fiona Apple. Up next is You Can’t Spell Believe Without Lie, a lyrical wonder supported by just Jaeggi on guitar. Empirical Science is performed in a talk-sing style similar to that practiced by Nellie McKay but with a darker depth. Men-Like Gods is a compact and catchy song that would greatly benefit from additional instrumentation. The recording offered here is great for a demo, but this song begs for a fuller sound.

Vendetta is a bit of acoustic hip hop that wants desperately to be a big time Rock N Roll anthem. This may the breakout song that Jaeggi needs. With a good band behind her this could become a monster. The CD also includes Tell His Mother, Somebody Else and The Bard, all of which are fine compositions but perhaps not as dynamic as the rest.

Lisa Jaeggi is lyrically brilliant, mining every day topics like a true story teller. Jaeggi finds that nugget in a topic that either you didn’t think it, or finds a different light to shed on it than you might have considered. Vocally she exudes a strong, warm voice that stands up to anything you’ll hear on the radio. The musical arrangements on Demo(nstration) are spare, with Jaeggi providing guitar or keys are need. The base arrangements are excellent, but some of the material here would definitely benefit from the fuller arrangements a band could provide. Pay attention to Lisa Jaeggi, you’ll be hearing from her again. Talent like this doesn’t stay hidden for long.

Rating: 4 Stars (Out of 5)

You can learn more about Lisa Jaeggi at www.myspace.com/lisajaeggi. Perhaps you can talk her into selling you a copy of her CD, Demo(nstration). It’s worth having.