by David Moye

In 1982, Modern English became a staple of what was then called “Modern Rock Radio” when the band released a truly classic song, “I Melt With You,” one of the best songs ever written using 2.5 chords.

Although the band had other great songs, such as “Hands Across the Sea,” “Life in the Gladhouse” and “Ink and Paper,” “I Melt With You” was, and is, a true classic song, combining an easily singable melody (which sounds even better when sung with a fake Limey accent), a clever atmospheric arrangement, and lyrics that were sexy, yet obscure — perfect for wannabe So Cal Goths to wave their fingerless glove-clad hands in front of their face.

No wonder the song has lasted so long. You heard that old phrase, “The sun never sets on the British Empire”? Right now, as you read this, there is a fast food restaurant using “I Melt With You” to advertise cheeseburgers.

So you’d think the band would be pissed that, after 30 years, they get pegged unfairly as one-hit wonders. To be fair, “I Melt With You” only made the lower reaches of the Billboard top 100 (No. 76 in 1982 and No. 78 in 1990) and “Hands Across The Sea” did creep on to the chart at No. 93.

But they are not. At least lead singer Robbie Grey isn’t.

“We don’t have a problem with it,” he said from London during a recent phone interview in anticipation of their September 5 performance at Anthology. “’I Melt With You’ has kept us afloat for many years. It’s been in so many films.

“But every band does want to have everyone aware of their music. During our recent tour of the East Coast and Midwest, there were a lot of people familiar with lots of songs from our catalog.”

Including, he said, the newest album, “Soundtrack,” Modern English’s first new album since 1996’s Everything Is Mad. It marks a reunion of their most classic lineup: Grey, guitarist Gary McDowell, bassist Mick Conroy and keyboardist Stephen Walker, for the first time since the mid-80s, as well as the addition of a second guitarist, Steve Walker (who plays on “Soundtrack” and should not to be confused with the keyboardist).

Having the old band back together has been enjoyable for Grey, who believes that Modern English is a band where the sum is greater than the parts –especially when they were starting out.

“When we wrote ‘Mesh and Lace” [the album containing “I Melt With You”], we wrote songs, but none of could really play. We weren’t classically trained so we used sex and abstract arrangements to get our point across.

“These days, we do know how to write a song, but we don’t want to lose that spark of what we did in the beginning. To me, it’s art first than technique.”

Like many bands that formed in the early 1980s, Modern English was affected by punk rock.

“Punk showed us that we didn’t have to be proficient,” he said. “It was emotional AND artistic.”

However, Grey says what’s made the band last is that its influences aren’t just musical.

“I’m as influenced by Salvador Dali and Francis Bacon as I am by Wire and Joy Division,” he said. “Poetry, literature and art all influence my songs. When we write a song, the music does come first, than a ‘feel’ or an atmosphere. Then I get the germ of a line.”

Grey believes that the crowd who comes to Anthology for “I Melt With You” will appreciate the newer songs as well.

“’Soundtrack’ is a bridge between ‘Mesh and Lace,’ and ‘After The Snow’ – a marriage of both of those things,” he said. “Some of my best lyrics, very thoughtful and mature. They were written in London, in my flat. It’s a dark album, an emotional album, because I was single at the time.”

Meanwhile, folks who are coming for the big hit, won’t be disappointed, but they should be prepared.

“There will be no ska rock! For the longest time, your website listed us as playing that, and I just want to make sure people aren’t disappointed that we’re not a ska band,” he laughed.

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WHAT: Modern English
WHEN: Sunday, September 5th, 2010, 7:30pm
TICKETS: $7 - $38 BUY TICKETS
MORE INFO: Artist Profile

SAN DIEGO — Septeto Nacional es una leyenda cubana. Es candela pura. Es caña de azúcar.

Y todo el sabor del son cubano vendrá a Anthology, en Little Italy, el 3 y 4 de septiembre, siendo esta la única presentación que hará el grupo en el sur de California como parte de su gira por los Estados Unidos.

Aunque el son, género del que nació la salsa, ha ido evolucionando desde que el músico Ignacio Piñeiro fundó Septeto Nacional en 1927 en el centro de La Habana, el grupo se ha mantenido firme en sus raíces, a pesar de que ha ido cambiando de integrantes desde entonces.

“El Septeto Nacional sigue fiel a su formación inicial y su sonido original”, dice desde La Habana, Frank Oropesa, actual director del grupo. “Prueba de esto es su formación en el escenario donde continuamos siendo siete músicos y sobre todo tocamos el repertorio de temas antológicos que tanta gloria ha dado a nuestra nación. Es un orgullo muy grande y un estímulo a la vez saber que el son y la rumba hecha por el Poeta del Son, Ignacio Piñeiro, siguen triunfando por todos los continentes”.

Para Valerie Ortiz-Wallace, una promotora y maestra de salsa en San Diego, Septeto Nacional revolucionó el sonido del son y ayudó a la formación del sonido de la salsa.

“Son innovadores”, dice Ortiz-Wallace. “Fueron los primeros en incorporar la trompeta a la música tropical. Este grupo es histórico”.

Aunque la salsa se ha convertido en todo un movimiento en San Diego en años recientes, muchos salseros nuevos no conocen a Septeto Nacional, dice Ortiz-Wallace.

Esto es porque su sonido es más acústico que los salseros contemporáneos, al ser el son un género musical más básico, usando más instrumentos de cuerdas como la guitarra.

“La gente nueva que tiene poco bailando salsa sólo escucha lo que ponen los DJs en los salones de baile y es música más nueva. Muchos no conocen la historia de la salsa. Septeto Nacional es música más clásica, pero eso no la hace menos bailable”, dice Ortiz-Wallace.

La misión de Anthology, el recinto donde se presentará el grupo, es exactamente eso: hacer que los sandieguinos puedan conocer la música de leyendas musicales como Septeto Nacional, indica David Moye, director de relaciones públicas del lugar.

“Cuando comenzamos hace tres años, fue, en parte, para que artistas pioneros internacionales como Septeto Nacional tuvieran un lugar donde tocar en San Diego”, dice Moye.

Los integrantes de Septeto Nacional, que estuvieron nominados al Grammy en 2004 por su disco Poetas del son, viven en La Habana. Su concierto en San Diego forma parte de una gira por varias ciudades de los Estados Unidos, una oportunidad que aprovecharán para que las nuevas generaciones conozcan el son cubano.

“Es un gran compromiso y satisfacción saber que llevaremos nuestra música para allá”, dice Oropesa. “Tener la oportunidad de poner a bailar al publico de los Estados Unidos nos llena de orgullo”.

Es muy probable que después de escuchar a Septeto Nacional muchos salseros comiencen a conocer las raíces de la salsa: el son.

“Lo que atrae a la gente al son cubano es su sabor y autenticidad. Es un ritmo muy contagioso y cuando se toca, nadie se puede contener”, dice Oropesa.

Detalles

Septeto Nacional

Cuándo: Viernes 3 y sábado 4 de septiembre, 7:30 y 9:30 p.m.

Dónde: Anthology, 1337 India St.

Cuánto: $22 y $27

Informes: 619.595.0300 o anthologysd.com

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Via mienlace.com

A leading light in Son, a Cuban music style that combines Spanish guitar with African rhythms, Havana’s Septeto Nacional have been around in various forms for more than 80 years. Most of the current lineup has been playing together only since the ’90s and ’00s, but they’ve got the spellbinding grooves and winsome melodies of standards like “Échale salsita” down pat. (They’re also playing on Friday, Sept. 3.)

Via San Diego CityBeat

By David Moye

Hal Ketchum is known for singing country hits like “Small Town Saturday Night,” “Past the Point of Rescue” and “Hearts Are Gonna Roll,” but writing is just as important to him.

Lucky for him, he has an easier time writing in unfamiliar surroundings than other musicians.

“I definitely can write on the road,” he said en route to his September 1 show at Anthology. “There’s plenty of time to work on stuff.”

Ketchum first hit it big in the early 1990s when his album, “Past The Point Of Rescue,” produced four hit singles including the title track and “Small Town Saturday Night.” Since then, he has earned a reputation for performing great country music while keeping touch with the outlaw edge.

“My brother and I started out playing bluegrass,” he said. “That’s the root of the source, but, to me, country music is a beautiful combination of things – just like early rock and roll.”

Ketchum grew up in upstate New York and while the stereotypical country fan lives in the southern or western part of the U.S., he says there’s quite a strong contingent in the northeast part of the country as well.

There really is a broad source of bluegrass in New England and New York,” Ketchum said. “I was exposed to it through my father.”

There have been other influences besides dear old Dad for Ketchum. When it comes to songwriting, he’s influenced by many of the greats like Hank Williams, but some less obvious influences as well.

“I think Bernie Taupin is an absolute genius and I love Hemingway,” Ketchum said. “A songwriting idea can come from all places. For me, I usually get a first line, a situation or an image in my mind.”

As far as songwriting goes, some writers feel that the best songs come the easiest, while others feel it’s no good unless they sweat blood. Ketchum falls in the first camp.

“To me, quick is good,” he said. “I do lean towards those strikes of lightning. I think the easiest song I’ve ever written was called ‘I Miss My Mary,’ about child visitation. I put the coffee on and it fell on the page.”

Ketchum is asked if he thinks the quicker a song is written, the less time the brain has to get in the way and try and clean up the raw emotion.

“Maybe, but this song gets a reaction because it has a strong storyline,” he said.

But to Ketchum, a good song is just a framework for live performance. That’s when he can stretch the songs out to fit the talents of the musicians.

“The key for [the Anthology show] will be Johnny Hiland,” he said. “He is a great guitar player and I’ll have a chance to stretch musically with new players who have a different take on this music.

“Being in the middle will be a great experience.”

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WHAT: Hal Ketchum
WHEN: Wednesday, September 1st, 2010, 7:30pm
TICKETS: $7 - $39 BUY TICKETS
MORE INFO: Artist Profile

By David Moye

As a musical instrument, the trombone doesn’t get the credit it deserves.

As bass clef instruments go, it is easier to carry than a double bass or piano or tuba and its nature allows players to be melodic and rhythmic at the same time.

Big Sam of Big Sam’s Funky Nation agrees with this premise.

“Trombones not only can be melodic, but they got that ‘sli-i-i-de’ thing going on that other instruments just can’t duplicate,” Big Sam said recently.

But Big Sam wasn’t born playing the instrument. In fact, despite growing up in New Orleans, a place where the trombone was one of the building blocks of jazz, he had never heard of it before junior high.

“When I was in middle school, I was a big guy,” he said. “I was too big to play basketball, but they wouldn’t let me play with the older kids so I decided to join marching band.”

On his first day, the band director asked Big Sam if he wanted to play the ‘bone.

“I hadn’t heard of it, but I said, ‘Sure, whatever you need.’”

Although Big Sam was well aware of his home town’s musical heritage, he didn’t realize the trombone’s importance in it until he started playing it and discovered the “second line” tradition of jazz music.

In traditional brass band parades in N’Awlins, the “main line” is the main section of the parade, or the members of the actual club with the parading permit; those who follow the band just to enjoy the music are called the “second line.” Traditionally, the second line music is where the funky polyrhythms of Crescent City music originated.

Amazingly, one of the music’s pioneers, Buddy Bolden, is Big Sam’s great-grandfather, a fact that he didn’t realize until a few years ago.

“I was definitely into live music, but I didn’t even pick up jazz until I discovered the Dirty Dozen Brass Band,” he said. “I loved them.”

That love was reciprocated. Big Sam was a member of the respected jazz group for many years before striking out on his own with a more funkified combo that still pays respect to the Big Easy’s great music.

So does Big Sam.

Even when we’re on tour, we try to get back home every 10 days to run errands,” he said. “But it’s important to go back to the roots”

New Orleans provides musical inspiration for Big Sam – who has a recurring role on the HBO series, “Treme” – but it’s not his only source.

“I listen to everything,” he said. “For instance, when we come to San Diego on August 27, we may listen to some of the Mexican stations on the way in. I also can get influenced by a painting, but even the architecture of a city can affect a song.”

Big Sam’s latest album is “King of the Party” and that’s what he promises in concert. But be careful where you stand in relation to him.

That’s because while the trombone can do musical things that other instruments can’t do, that’s not always an advantage.

“Sometimes when you’re trying to get a real deep note, your slide falls off into the crowd,” he admitted. “The crowd loves it, but I don’t. That’s happened about five times.

“One time about four years ago, a friend named Allison was dancing nearby. I was doing a solo with my eyes closed and the end of my slide hit her in the face. I’m lucky I knew her because the next day she had a black eye and posted the picture online.”

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WHAT: Big Sam’s Funky Nation
WHEN: Friday, August 27th, 2010, 9:30pm
TICKETS: $7 - $24 BUY TICKETS
MORE INFO: Artist Profile

View more news videos at: http://www.nbcsandiego.com/video.

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Via nbcsandiego.com

For many Latin Americans, tradition plays a huge role in the development of not just the culture but also the music that comes from that culture.  This is clearly evident in the work of Cuban Son Band Septeto Nacional.  Since 1927 the Cuban band has worked tirelessly to keep the traditional Cuban son alive and little has changed for the 4th generation of the band that currently tours today.  San Diego will be able to experience true, authentic Cuban Son at their upcoming Anthology concert here in Little Italy on September 3rd.  Recently I was lucky enough to talk with Francisco Oropesa from the group about the history and tradition of Septeto Nacional.  I hope you enjoy the interview as much as I did.

John

@RitmoBello

______________________________________

Ritmo Bello: Francisco Oropesa, it’s great to finally sit down with you to talk about the legendary Septeto Nacional. Okay, let’s begin. Can you give my Ritmo Bello readers some background on the band’s origin and the original leader, Ignacio Pineiro?

Septeto Nacional:  The Septeto Nacional was officially founded on December 13, 1927, by Don Ignacio Piñeiro at 56 Pocito Street in the neighborhood of Pueblo Nuevo, in Havana, Cuba. Additional founding members were Juan de La Cruz Iznaga, Francisco Solares, Jose Manuel Incharte, Alberto Villalón, Bienvenido León y Abelardo Barroso. Another early member was Lázaro Herrera. He became the first trumpeter to record Cuban son in the newer septet format. Prior to this, the group was a sextet, as were the vast majority of son groups in Cuba at the time. The addition of the trumpet was a major innovation in the development of Cuban son.

Ritmo Bello: What exactly does ‘septeto” refer to, the group members themselves or the instruments? What’s the history behind the name?

Septeto Nacional:  Septeto (Septet) refers to the number of muscians in the group (seven musicians, each with an instrument). Ignacio Pineiro played a significant role in changing the number of musicians in the son format to seven from the original six.

Ritmo Bello: Most folks may not be familiar with the difference between modern salsa music and Cuban Son. How would you describe the differences and what do you see as the advantages of one music form over the other?

Septeto Nacional:  First, the son is played with acoustic instruments. Some of the early instruments are no longer used as frequently, such as the Marímbula (used as a bass – constructed of several metal strips attached to a box) and the Botija (a jug – like those found in the Kentucky black jug bands).

The son played by Septeto Nacional is special. Ignacio Piñeiro’s unique arrangements and compositions are infused with many of the African derived music traditions found in Cuba, such as Rumba (the Rumba complex includes: Guanguancó, Yambú and Colombia) and Abakuá. He created and enriched his music with all these elements.

Ritmo Bello: Although Septeto Nacional is known for its rich musical history I’m sure you have an opportunity to make new music. How and where do you find inspiration for creating new music?

Septeto Nacional:  The most important objective for our group is to keep the original repertoire and preserve the Rumba style Ignacio Piñeiro brought to the son.

When we make new music, we’re inspired by our excellent musicians and composers.   However, we always make sure to conserve the traditional character and brand handed down by Ignacio Piñeiro.

Ritmo Bello: As a history buff I always like to see the greater picture and understand how music has evolved through certain events. How has the Cuban revolution in 1959 affected music coming from Cuba such as Cuban Son?

Septeto Nacional:  In our case, the group has not been affected. We have always received our country’s full support. We tour and perform a great deal and through this, we receive much admiration and respect in Cuba and throughout the world. We are proud to be the ambassadors of Cuban Folklore, a title we’ve held since 1929, and represent our traditional music at the highest levels.

Ritmo Bello: Can you tell me a little about the albums that Septeto Nacional has released to date?

Septeto Nacional:  A vast number of recordings have been made since 1927. Between 1959 and 2010, more than 20 albums have been released. Some of the latest and most significant recordings are: Poetas del Son (Chant du Monde label – Grammy nominated, 2002), El Sabor de la Tradición (Ferment 2005), Noche de Conga (Egrem 2007), Desafiando al Destino (Bis Music 2009).

Ritmo Bello: Are there current plans for new CD releases coming up soon?

Septeto Nacional:  Our latest album is titled Sin Rumba, No Hay Son from Harmonia Mundi/World Village Records. We’re launching it on this U.S. tour. The official release date is September 14th. The CD has 14 great tracks. We hope our fans enjoy it and that it’s a success on the global market

Ritmo Bello: What song from your group best epitomizes true Cuban Son in your opinion?

Septeto Nacional:  Indisputably, there are many songs from Piñeiro that exemplify the Septeto Nacional. However, in my opinion, the most universal is Échale salsita (throw a little salsa on it!). The term “salsa”, the blanket word we use today to describe tropical/Latin music, can be traced to this son composition.

Ritmo Bello: What type of awards has the group received over the years on account of Cuban Son music? Which ones are you most proud of receiving?

Septeto Nacional:  I think the most significant awards the Septeto Nacional has received are the gold medals from the Seville World’s Fair in 1929 and the Chicago World’s Fair in 1933. Equally as important, the group is also a recipient of the Cuban Cultural Heritage Award of Distinction. We’re proud and honored to be so recognized.

Ritmo Bello: What are you future plans concerning your music?

Septeto Nacional:  To continue the worldwide promotion of Ignacio Piñeiro’s music, identified globally as Cuban Folklore.

Ritmo Bello: As a salsa dancer I have to ask, what do you think about the growth and popularity of dancing to salsa, Cuban Son or other types of Latin music?

Septeto Nacional:  In many countries we see salsa dancers dancing on rhythmic elements of the Cuban Son. We also see many people come to Cuba to learn popular dance, some of them have dance academies that exist in different countries.  I think it’s great to see so many young people eager to learn how to dance to this music we all love.  Cubans breathe their music and dance (both in popular and folkloric forms). It’s a constant presence in our lives, from morning to night.   Cubans live it every minute of the day – in their homes, on the streets, festivals, clubs – music, dance and art are a constant presence in Cuba. It’s a part of our lives from the time we’re born. We know and understand all Latin rhythms and trends from all parts of Latin America.

Ritmo Bello: At the upcoming Anthology show September 3rd what can we expect to see when you perform?

Septeto Nacional:  The audience can expect to listen and dance to the best Cuban traditional music, the most authentic and best preserved Cuban son in the style of Ignacio Piñeiro.

Ritmo Bello: Is there anything else you’d like to share with the San Diego salsa and Latin dance community that we haven’t covered yet?

Septeto Nacional:  We hope the San Diego public enjoys our music and our interpretive quality. We’re the 4th generation of Septeto Nacional and have played over 500 concerts in over 36 countries over the past 10 years.

Ritmo Bello: Do you have contact information in case anyone from the Ritmo Bello audience wants to contact you?

Septeto Nacional:  They can contact us by email at echalesalsita@cubarte.cult.cu or by phone in Cuba 535-2829003 or 537-8635736. Ask for Frank or Ricardo.

Ritmo Bello: Francisco, on behalf of the San Diego salsa dance community and Ritmo Bello thank you for your time! It has been an honor to talk to you today.

Septeto Nacional:  Many thanks to you and the Ritmo Bello audience. We hope to see all of you at the Anthology Jazz Club shows.

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Via ritmobello.com

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WHAT: Taylor Hicks
WHEN: Sunday, August 22nd, 2010, 7:30pm
TICKETS: $7 - $45 BUY TICKETS
MORE INFO: Artist Profile

In honor of Chef Todd Allison, Anthology’s new culinary rock star, elite members of the San Diego media scene came together on August 17 to celebrate on the club’s third floor lounge

The media movers and shakers not only enjoyed champagne and the music of the Anthology House Band, but a variety of Chef Todd’s specialties including Maine Lobster Corn Dogs, Dungeness Crab Beignets, Golden Beets & Goat Cheese, Braised Short Rib And Truffle Risotto, Mediterranean Meat Satay, White Chocolate Rice Pudding.

Each guest received a jar of Chef Todd’s homemade gourmet jams. Along with Heirloom tomato and saffron, the flavors included black mission fig and port preserve and yellow peach and clove preserve.

All the food was well-received (as was Chef Todd), but the braised short rib was singled out by at least one guest as the last thing he’d like to eat before he died.

Guess he liked it.

CLICK HERE to view the photos.