In our local music column Spill It from the CityBeat issue out today, we announced the lineup for this year’s much anticipated MusicNOW festival, which includes a closing-night headlining appearance by Cincinnati-bred Indie music stars The National on May 15.
National guitarist Bryce Dessner is the brains behind MusicNOW, which began in 2006 and has featured unique performances by some of Indie music’s biggest names, as well as up-and-comers and those on the edgier fringe of modern Classical/Chamber music. Dessner’s Avant Chamber group Clogs has played the fest in the past, but this is The National’s first time at MusicNOW.
We received word this afternoon that legendary Funk guitarist and Cincinnati native Phelps “Catfish” Collins succumbed to cancer today at the age of 66. Collins (along his younger brother Bootsy) was an architect of Funk as a member of James Brown’s JB’s, Parliament/Funkadelic (fellow P-Funk guitarist Gary Shider passed away just a couple of months ago) and Bootsy’s Rubber Band and was responsible for some of the greatest Funk guitar riffs every laid down.
The city of Cincinnati memorialized a fallen local musician Friday by unveiling Michael Bany Way in Over-the-Rhine. Formerly called Jail Alley, it runs off of Main Street, where Bany was killed in 1995 following a performance.
Bany's brother Mark has worked tirelessly to recognize his brother's accomplishments and to help the local music community via the Michael W. Bany Music Scholarship Fund. At Friday's event Mark presented this year's scholarship to Jalessa Andrews, who will attend Bethune-Cookman College to pursue a degree in music education.
Something (or a few things) unanticipated usually happens at the Cincinnati Entertainment Awards show every year. After all, it's a night where hundreds of local musicians are put together in a room with loud music and multiple cash bars.
But the biggest unexpected element of last night’s CEAs at the Madison Theater in Covington was its runtime. Not only a first for the CEAs but perhaps a first in the history of all awards show, the briskly paced show was over early — in about 2 and a half hours, 30 minutes sooner than expected. Efficient stage management and a more streamlined run of show that kept the focus on live performances and the 19 award presentations (winners listed below) helped the event wrap up in record time.
Other than an intermittent and often heavy rainfall and a cancelled show or five, Thursday was a very good opening night. The lessening rain upon arrival in downtown Friday night boded well for a drier and less drippy MidPoint experience, and so it was. For the most part.
After months of planning and judging and selecting and scheduling and designing and implementing, the big night has arrived at last. The first night of MidPoint 2009. You can almost smell the impending disaster in the air.
Well, perhaps disaster is a bit strong. It’s been a long time — well, a couple of years anyway — since MidPoint has been baptized by a significant rainfall, and right out of the chute last night’s precipitation claimed its first victim for me. As much as I wanted to see The Elms, I wasn’t prepared to walk up to Grammer’s in the pouring rain and then watch them while outside soaking wet. I hear the tent is nice and, as it turned out, I probably would have been better off to take the wet walk.
I hate when hard working people get ripped off. These kind of injustices can range from phishing scams to pickpockets, insurance companies' denying claims by any means necessary to bank CEO’s using bailout cash for beer money. It’s heart breaking to hear the stories of identity theft leaving people broke and in perpetual debt, or stock- and 401K-holders losing their future to corporate malfeasance.
Not that it is by any means “worse,” but I get a special bug up my ass (I’ve named him “Tony”) when I hear about artists and musicians getting ripped off. Having written about music for 18 years and played music for over 20, I’ve seen all kinds of scams designed to make cash off of the creative endeavors of others. From “battle of the bands” contests with exorbitant, unnecessary “entry” fees to club owners deciding at the end of the night that a band’s performance fee suddenly didn’t fit his budget to record labels putting no money into a project only to blame the band for not selling more albums (and coming at them to “recoup” costs), not paying or actually taking money from artists is its own little cottage industry within the music industry.
A couple of weeks ago, I finally got to check out the muched-buzzed about band The Tillers, nominated for a Cincinnati Entertainment Award in the Folk/Americana category. Playing in the Southgate House's "lounge" room, the trio (playing stand-up bass, guitar, banjo and more) huddled around a single, vintage-looking, multi-directional mic and delivered their sweet, accomplished spin on traditional Folk, Country, Gospel and Blues.