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Dayton Music

New Location, Long Lasting Memories Remain With BarnJam 31

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While you drive to or around 3948 Soliders Home-Miamisburg Road in Miamisburg, Ohio, the large steel barn  stands firmly on the property.  The generously proportioned structure is showing the beginning stages of typical  wear and tear on the rooftop.  Meanwhile, the inside of  the barn is still intact.  You take notice of the wood beams  that are steadily holding up the shed and high rise ceiling.  The picturesque farm land that accompanies the barn  is tranquil and pleasing.  Not much traffic flows through, which gives it the serene tone.

The barn has been the centerpiece to many events since the day of its construction.  Stories from the past and  present are quietly cemented within its walls.  Tales of life will be forever etched in memory.  While he lived on  the five acres of land that also included the barn, Eric Suttman would let others create their own unforgettable moments  in the barn as well.  In 1999, Suttman began the bi-annual musical experience BarnJam.  Come rain or shine, patrons were allowed to camp, build fires, and enjoy the music together in their own way on the property.  Starting out as a few bands jamming together, the festival has become one of the most anticipated events in the area that hundreds of people look forward to each spring.

Born in 1959, Suttman went to St. Albert the Great School and was a graduate of Alter High School.  Being well known as a lifelong musician and being respected for his work in recording, Suttman was fortunate enough to be the winner of multiple local Emmy Awards for music and production.  What Suttman will be forever known for, however, is his dedication and passion for teaching at the university he received his degree from-the University of Dayton.  For over thirty-three years, he brought a genuine love to the classroom each day that reached his students in ways that he would never realize.  Although Suttman passed away last April from cancer, the lives he touched will not be forgotten.

BarnJam was more than just a festival to Suttman.  He saw it as an opportunity to promote the music scene by showcasing local and regional musical talent.  He also aimed to raise money for local arts-based charitable organizations.  On top of all that was his desire to help build communities.  Have individuals reach out to one another as a way of connecting, while building friendships on his land.

This year, the group that will run the event wanted it to be accessible to the public more than what it has been.  The decision was made for BarnJam to be located on the Great Miami River just outside Dayton in Tipp City.

On April 18th, 3948 Soliders Home-Miamisburg Road in Miamisburg, Ohio will be oddly quiet.  The sounds of music won’t be blaring out to the night sky.  Lights all hung around will be essentially turned off.  The land won’t be occupied with hundreds of tents sprawling all over. It’s hard to imagine that BarnJam will no longer be the backdrop at the farm, but the new location promises to continue the spirit of what Suttman wanted when he first organized the festival.

The memories and stories made on Suttman’s land, and more importantly the barn, will always live on.

 

BarnJam 31 will be held on Saturday, April 18, 2015 at Adventures on the Great Miami.  Rain or Shine. $10 at the door, $5 with student ID.  

The musical acts performing this year are:

Gin-soaked Angels 
Gem City
Dave Zup
Jersey Joe 
The Backporch Jam
LOOPRAT
R & D Blues 
Chastity Dragons 
Andy Mustang and the BarnJam All-Stars 

Camping available & encouraged
B.Y.O. tent, beverages, drums, and instruments
NO glass & NO dogs

No More “Silence”; An Interview With Tom Gilliam Of Ghost Town Silence

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(Photo Courtesy: Art Jipson)

This Saturday, Ghost Town Silence will take the stage in support of the  release of their EP Shadows at Oregon Express.  Formally The Rebel Set,  the set will mark the end of an era for the band.

Before Ghost Town Silence, the five piece group The Rebel Set formed in  2005 when lead singer/guitarist Tom Gilliam and vocalist/upright bass  Gavin Spencer enlisted members Jason Johantges (rhythm guitar), Adam  Kempf (drums/trumpet) and Ken Hall (keyboards/trombone) to join.  With  the releases of their 2008 debut Ghost Town Silence and the 2009 follow  up Across The Relentless Sea, The Rebel Set saw their live performances at  the local establishments filled to near capacity.  Their fanbase followed  them to every place they played at.  In 2010, Gilliam mentions while we  met up recently that they were at their highest point of being together.  It  was hard to not mention The Rebel Set as being one of the most popular  bands in town.

With all of the work they were putting in around that time, life began to start take over.  What was pretty standard of playing on most weekends now transitioned-with the band performing a few shows during the year.  Most of the members starting having their families grow larger when children started coming.  Johantges made the move to Marysville and has been the most recent to have a baby.  Overall-the band started to shift their focus onto their other responsibilities.

Even with all of the changes happening with each member of the band’s lives, they continued to get together and write music.  In August of 2013, The Rebel Set went into the studio to lay down some songs at In the Red Recording, hopeful to release a full-length.  The first five songs were mix, mastered and put on CD while the last half was still being worked on.  In November while the band was taking a break from recording, Hall made the decision to leave the group to concentrate more on his newborn and his other bands-Human Cannonball and Shrug.  With his parts already done with the first five songs, the second half of the full-length was up in the air.

“(Hall) committed to doing the rest of the album,” Gilliam mentions.  “It was just the other five or six songs were in various levels of completion.  We just let him go.”

The Rebel Set decided to release the finished five songs now planned on being released as an EP titled Shadows.  Right as they were getting prepped to set up photography with EP cover, the band faced even more roadblocks.  In 2010, a Tempe, Arizona band that also went under the name The Rebel Set bought the naming rights to trademark themselves.  The signing of Burger Records, supposed radio airplay with their music overseas, and an upcoming tour propelled the group to send a message to Gilliam requesting him to change his band’s name.  It was also mentioned that legal action would be taken if the adjustment wasn’t made.  The Dayton group could have gone to court and fought to keep the name. Gilliam and the band instead opted to adjust the title.

“It just seem that the time was right for one anyways,” Gilliam said.  “There were all these signs that were saying ‘do it’”.

No longer being allowed to be called The Rebel Set, the band went to work on configuring a new name.  While Gilliam went to work scrolling through the internet, other members began logging down names.  Along with it being the title of their first album and Gilliam simply liking it, Ghost Town Silence had some history.  It was also a lyric in the song “130” and had a huge part to do with the cover.  The choice of Ghost Town Silence was chosen by the band during a practice down in Spencer’s basement.  Before he could declare the name to be a contender, Spencer uttered the name out loud.  Ghost Town Silence was greenlighted from that moment on.

The other business that needed to be taken care of was the departure of Kempf in June of last year.  With accepting a new job occupation, the need to fill in the holes became menacing.  Lucky for Ghost Town Silence, the empty roles that Hall and Kempf held in the band were quickly filled with Nathan Warden on keyboards and drummer Brian Winter.  Warden has been already playing at times with the band, but Winter was brand new.

No longer does the looming cloud of uncertainty covers the band.  Gilliam indicated that there was times when the band’s status as active was seriously in doubt.  All was not lost in that time, though.  With the somewhat hiatus that Ghost Town Silence was ensuing, Gilliam took his passion for photographer to another level.  He started snapping pictures of a variety of subjects; raging from landmarks to various events.  Today-Gilliam currently is the founder of the well-known account DaytonGram.  Sharing the Dayton, Ohio area’s past, present and future through photography & community (aka Instameets).

With Winter and Warden being integrated as full-time members of Ghost Town Silence, the duo have brought new life into the band.  Gilliam mentions that has soon as the EP Shadows is released, Ghost Town Silence will be moving on.  The band has been currently working on new material.  With a name change, new members, and an upcoming slot in the upcoming Sideshow festival-it will start a new era.    

And it will start this Saturday as soon as their set is finished.

Ghost Town Silence will be releasing their EP Shadows this Saturday at Oregon Express.  Performing with them will be Todd theFox and Akillis Green.  Showtime is at 10pm,  $5cover.  21 and up

A Call To Arms; An Interview With Tim Anderl Of Arms Race

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For almost twenty years now, Tim Anderl has written some of the most compelling stories and informative interviews for several outlets.  He  has been in contact with artists/bands that span all over the world.  From cutting his teeth in the business as an intern at Alternative Press  magazine to now being frequently featured in publications like Ghettoblaster Magazine and New Noise Magazine-Anderl has spent a large  portion of his life involved in the world of music.  So it shouldn’t come as a surprise to anyone then when you are made aware that Anderl is  also in a band-right here in the heart of Dayton, Ohio.  The band is called Arms Race. This past fall, the foursome released their debut EP  (and one of the best releases in 2014) Brought a Hug to a Gunfight.

The other members of Arms Race; bassist Cole Bohanon, drummer Justin Satinover, guitarist Kris Neises began the work on music together  back in 2013 with another guitarist at the time, Seth Ratliff.  The lineup consists of members from other local bands such as The Black Hearts  of Men, Kris N, Giant Defiant and The 1984 Draft.  Satinover’s basement became the setting to where most of the music started to be written.    As soon as some demos were recorded, Satinover presented them to his 1984 Draft band mate Joe Anderl, who is also Tim’s brother.    Satinover’s intention was to optimistically recruit him to come onboard and sing lead vocals.  Unfortunately due to timing not being ideal to  join at that time, Joe respectfully declined the offer.  He did listen to the demos though and immediately knew who should be contacted-Tim.

“I get this email from Kris saying that him and some buddies of his were playing in this band and were wondering if it would be something I  would be interested in,” Anderl explained during a recent sit down.

It wasn’t going to be the first time Tim was possibly going to be involved in a band.  In college, Anderl performed in another 90s-era emo  band titled Low Pan.  The 5-piece set went on a 10 day tour at one point and also played all over Ohio.  When Anderl graduated from Ohio University, Low Pan parted ways.  After spending some time in Cleveland working and returning back to Dayton, Anderl performed in a few other bands that lasted briefly.

When Anderl started listening to the instrumental demos, the sound coming out echoed the classic definitive sound that the 90s emo scene provided.  The songs reminded him of the days when while he was growing up in Beavercreek as he would attend D.I.Y. basement/hall shows around the surrounding area.  Memories of listening to bands like Texas Is The Reason and Braid began to resurface when the demos rolled on.  It has been ten years since he last performed in a band.  However-Anderl was hooked and agreed to join.  Shortly after Anderl integrating himself within Arms Race and they began playing a little, Ratliff exited from being in the band due to becoming busier in another band was in and also getting married.  With Ratliff’s departure, Arms Race made the decision to keep things were they were.

In July 2014, Arms Race went to work on recording Brought a Hug to a Gunfight at Popside Recordings Studio in Troy with ex-Hawthorne Heights’ guitarist Micah Carli.  While recording, Carli stepped in a little to play some guitar to add some layers.  The end result is an EP that influences include mid-90s alt-rock, grunge and emo.  With Neises recording Thankful Parade with his other band Kris N in 2013, along with Joe Anderl and Satinover’s The 1984 Draft recording the EP Bo Jackson Up The Middle in 2014, the choice to work with Carli was a simple decision.

“He’s so easy to work with and was just a nice person,” Anderl said.  “He also has such amazing equipment.”

Among Columbus and Dayton already under their belts, Arms Race plan to play more shows hopefully in 2015.  An LP being recorded with Carli has also been discussed, but for now Arms Race plans on staying focused on writing new songs and having their performances stay as strong as possible.  If Arms Race were to never have gone to the studio, play live, or simply do anything but just jam with really no intention of doing anything-Anderl would have been okay with that also.

“It felt like the kind of band that could be really fun to practice with and never play a show live,” Anderl says.  “Once we graduated to actually doing things in public-that was icing on the cake.”

Arms Race will perform during the APUNKolypse Now! event on Saturday, April 4 at Canal Public House, 308 E. First St. The Loveless, Kill City, Red Hot Rebellion, Bribing Senators, Movehome and Daymare are also on the bill. Show begins at 7 p.m.

For more information and to hear the band’s EP, Brought a Hug to a Gunfight, visit soundcloud.com/arms-race-dayton-ohio.

Back In The Dayton Groove: Gem City Releases First LP

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On January 30th, Dayton band Gem City celebrated the release of their long awaited first album REDUX at the Yellow  Cab Building.  Being released by local independent record label Only WonderUS, REDUX offers a collection of  ballads and up-tempo songs that are beautifully woven together throughout.  The James Brown-influenced opener  “Gotta Get Up (Before You Get Down” sets the down early with a groovy soulfulness to it.  Th vibrate, jazzy  instrumental “Britney Called” gives way to what could be the John Legend-approved crooner “Jonesin’”.  “Turn  Up”  and “Automatic” showcases each member letting loose, and being unrestrained.

Located on East 4th Street, Yellow Cab was brimming with spectators and a majority of the bands loyal fans; which  Gem City affectionately call “customers”.  While sitting with the lead singer of Gem City Willie Four and Dave  Zupkovich from Only WonderUS Records recently, the two individuals talked vividly about the evening’s festivities.    They mostly spoke on what the experience was like to see such an amazing turnout. Zupkovich mentions that with  the minimal amount of press on the show, the crowd reached close to a couple hundred.

“It was beautiful, man.  It was a lot of fun,” recalls Zupkovich.  “That was the first time we ever threw any sort of event  like that…especially with little how little promo there actually was.”

“I was getting confused.  ‘Are these people still coming in the door?’ (Laughter),” Four said in jest.

“There were people coming when you guys were still playing.  That was definitely a grassroots kind of show, which was really cool to see.  People who were there told their friends.  Also the band’s fan base-they come out.”

The band formed at the University of Dayton back in 2012 when Four and most of the members of the band were students at the school.  While performing in the university’s jazz ensemble, most of the members all lived together in the lofts and homes surround the ArtStreet area.  When a project came up at ArtStreet, Four and eight others of the ensemble performers thought it would be fun to form a band.  The friends/bandmates called themselves the Customer Service and the Gem City Horns at the time and received rave reviews from those that caught the set.  Attendees wanted to get their hands on more music from them.  People from other music venues soon began sending requests for the band to come perform.  What was supposed to be initially started as a project that was designed to be only temporary had become an opportunity.  Customer Service had to choose; continue to pursue making more music or just have it be a onetime deal.  That response that they got after their first show made it easy for the decision to be made.

Along with trimming down the title of the band’s name and the signing with Only WonderUS, Gem City traveled to Nashville to begin recording REDUX at the Sound Emporium.  The large acoustic area allowed the band to record all together, of which the goal was to create retro/soulful sound. Working with a producer that they already worked with before, the studio’s history was also another deciding factor.

“We were looking through the archives-Johnny Cash was there in the 70s, Dolly Parton, Taylor Swift did her first record at the studio,” Zupkovich mentions.  “It was really an aspiring place to be.”

Production for REDUX lasted a little over a year.  A majority of that time involved going back and forth between studios.  Vocals were recorded at Eric Suttman’s Farm in Dayton and not at Sound Emporium.  A lot of time was also spent on mixing and mastering.  Even though the making of REDUX was a long and vigorous process, for Gem City it was all for the best.

“We made sure that we got it right,” Four says

In support of REDUX, Gem City have released a video directed by Marc Robert Graham.  Filmed all throughout the city of Dayton, the main story focuses on a young couple who decide to head to a hotel room for a little fun.  Along with stunning aerial footage of the city skyline, the video also has scenes of the band performing on top of a parking garage.  Filming the core part posed to be a little bit of a hassle in part due some minor delays, Zupkovich and Four mentioned.

“We did not start the camera rolling till 1:30am,” Zupkovich said.  “(Graham) got here at midnight, went to a parking garage, and ensemble.  Everyone was kinda upset with me.  I was upset.  It was definitely one of those of things that was annoying that day, but turned out to be a pretty funny story.  We didn’t stop shooting till 5am.“

“We woke up at 8am to record the second part of the video,” added Four.

“The product turned out great, though.”

Gem City have been slowly building their status as can’t miss within the city limits and beyond. Infusing elements of rock, funk and some old school Motown; Gem City brings to the table a rejuvenated feel to the jazz scene has been somewhat needing some fresh voices.  Their electrifying live performances have captive audiences across the Miami Valley, and places like Detroit, New York.  Gem City became quite crowd favorite at the Exit Zero Jazz Festival in Cape May in 2013 and 2014.  They have also were named the winner of this year’s Battle of the Bands at The Underground in Cincinnati.  Gem City have also been given a “Dayton Original” patent by the City of Dayton.

With the horizon looking as bright as it is, Four says that there’s no plans for Gem City to slow down anytime soon.

“We’ll keep going to we can’t no more.”

REDUX is available on iTunes at: https://itunes.apple.com/us/album/redux/id950328764

Gem City can be found on Facebook and on Twitter: @gemcityhorns.

To find out more about the band, click on Gem City’s website:  www.gemcityband.com

Nice And Steady “Pace”: An Interview With Tim Korenich

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In a couple of days, singer/songwriter Tim Korenich will pack up his vehicle with his music gear and head back onto the road solo.  He revealed  during our phone conversation that he will be performing to audiences at not only bars, but a variety of house shows that will also feature other  singer/songwriters.  When the performance are over, he will be choosing to sleep on people’s couches and floors instead of forking over money  to stay in a hotel.  While being out on tour, he will engage and interact with some of the most incredible people that want to help.  For example,  Korenich talked about one person in particular during his last tour.  The booker at the place where Korenich performed in Muncie, Indiana  offered him to come stay at his place for the night.  It was pretty common for the booker to allow artists and bands to crash at his place, so they  wouldn’t have to worry about sleeping arrangements.  When Korenich arrived to the housing of the booker, he saw what is common used as the  band room.

“He opened the door to a big room with bunk beds, pull out couch, a couple of little practice amps.  He said the door is open, front door is  unlocked-help yourself,” Korenich recalls.

Accounts like this is just one of many that like Korenich get to experience-and there is no better feeling than that.  This past September, he  released his first EP Change Of Pace.

Growing up in one of the suburbs of Pittsburgh, North Hills, Korenich played in bands throughout his time in high school.  When he attended  Ohio University, he continued performing with several bands.  Although the groups he played in never really took, the aspiration of being a full-  time musician became clearer.  Especially after reading Our Band Could Be Your Life.

“Hearing about Black Flag touring constantly and just scrapping by, but doing it because they loved it.  That kind of stuff really stuck with me, and really made me want to go on tour whenever I was a freshman in high school,” Korenich exclaims.

In his senior year at Ohio, Korenich was fortunate enough to be part of a group of students in the School of Media Arts & Studies that were making short films.  A troupe of 24 students took part in producing/directed the short movie Monhegan Light that took place at Monhegan Island, Maine.  Based on the short story written by author Richard Russo, Monhegan Light tells the story of Hollywood cinematographer Martin.  Out of nowhere, Martin receives a painting that is a panting of his now deceased wife.  He soon discovers who the artist is behind the painting, which leads him to go to Monhegan Island.  While being at the island, Martin will discover the truth, along with finding out details about his wife that he never imagined could be true.  Filmed on location at Monhegan Island for 8 days in early spring of 2013, the 25-minute film is visually beautiful, and the acting is extraordinary.  With the money raised from a successful campaign on Indiegogo, Korenich composed all the music with the movie. In return to getting the opportunity to record what would become the EP Change Of Pace, Korenich cooked all the meals for the crew and actors on set.

“I made some pretty decent meals from time to time,” Korenich said.  “The last night we were there, I got to cook fresh lobster right out of the ocean.”

Each song of the EP Change Of Pace is crafted to indie movie soundtrack perfection with some compelling storytelling.  Soft harmonies, along with Korenich’s deep vocals accompany the pleasing instrumentals are spellbinding.  Korenich nails the tone of each moment that comes along not only in Monhegan Light, but in our everday life.  The 6 songs complement each other with such ease and fluidity.  According to Korenich, the EP title was representative of what was going on during that time in his life.  He was starting to be a solo artist when his previous band The Beauregards decided to cease writing songs.  Another big leap Korenich has taken recently is moving from his hometown to Toledo.  The relocating has proved to be successful as he now getting to work with musicians like Zach Shipps from Electric Six.

As he now goes on his own path of being a full-time musician, the future is bright for Korenich.  Plans to release later this spring the debut LP of Korenich’s What a Weird Thing on vinyl.  A more expansive tour is being worked on, which could possibly have stops ranging to the West Coast.  When he was a freshman in high school, Korenich picked up the book Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981-1991.  The book explored influential bands like Black Flag, The Replacements, Dinosaur Jr. to start paving the way for other alternative/indie rock bands to succeed.  Without having little to no mainstream success, the artists featured in Michael Azerrad’s book found ways to continue making a living as full-time musicians through constant touring and records released on small, regional independent record labels.

It’s good to see that Korenich paid close attention to what was written.

Tim Korenich will be performing at Blind Bob’s Sunday night.  Showtime is 9pm.

Cab Calloway Orchestra at Beavercreek Weekend of Jazz

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cabcallowayYou won’t forget it: those smooth shiny instruments all in a row, the soloist singing and playing their hearts out, the silky smooth ensemble passagework, those spicy brass harmonies, the whole room bouncing and swaying to the irresistible rhythm, everybody singing “HI DE HO!”…. It must be The Cab Calloway Orchestra, now under the Baton of Cab’s Grandson: Calloway Brooks.

The Calloway family has been dazzling audiences since the 1920’s and this year is no exception. Calloway Brooks, along with the Cab Calloway Orchestra deliver both the authentic sound of a hot Jazz Orchestra and a snazzy stage style … bringing out a Jump, Blues, and Boogie experience of “Swing that is king and Jive that’s alive”.

Using the Calloway bands original vintage orchestrations as a starting point, coupled with the awesome musicians who have played with this big band for decades, The Cab Calloway Orchestra creates the authentic unforgettable sensation of a Modem Jazz Orchestra in full flight. So if you want to Swing Swing Swing, and every other thing, strap on your Zoot suit with the reet pleet and bring that Cotton Club brand of hot sophistication and the REAL Minnie The Moocher to your stage!

This show is part of the 3 day Weekend of Jazz , “Where the Future of Jazz Meets the Legends of Jazz!”,  an annual jazz festival organized and presented by the Beavercreek Music Parents Association and held the first weekend in March each year.

Seating is first come first seated. The doors to the Beavercreek High School will open at 6:30pm. The doors to the Auditorium will open at approximately 7:10 pm or after the performing act has done their sound check. Tickets run $20 – $30 and you can purchase them online.

 

 

Bach Society of Dayton presents An All Mozart Concert

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mozartIn March, we return to Austria for Mozart’s Vienna: An All Mozart Concert, featuring Mozart’s Grand Mass in C Minor for chorus, orchestra, and soloists, and his Clarinet Concerto, with principal clarinetist of the Dayton Philharmonic Orchestra John Kurokawa.

Regina coeli K. 276
Ave verum corpus
Clarinet Concerto in A Major K. 622
Grand Mass in C Minor

Bach Society Chorus with Orchestra
John Kurokawa, Clarinet
Andrea Chenoweth, Soprano
Minnita Daniel-Cox, Soprano
Cameo Humes, Tenor
Mark Spencer, Baritone

Concert preview at 6:30 p.m.
Neal Gittleman, Artistic Director and Conductor, Dayton Philharmonic Orchestra

No Troubles In ‘Paradise’: An Interview with Smug Brothers

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Smug Brothers left to right: Brian Baker, Kyle Melton, Don Thrasher, Larry Evans (photo by Jay Woessner)

The four members of Dayton’s own Smug Brothers are hanging around Kyle Melton’s kitchen on a cold February afternoon.  Inside  one of the small rooms that have been designated as the office, the Beatles come blaring out of the computer stereo speakers.  Deep,  raw cuts, along with some of their usual hits flooded over the entire house.  The group is awaiting local photographer Jay  Woessner as he will be updating the bands press photos today.  In only a few weeks away the Smug Brothers will be releasing their  latest album Woodpecker Paradise, and the band has their hands full.  After photos are taken, the band plans to practice some of  the new material.  Woodpecker Paradise reunites Smug Brothers with longtime producer, and former member, Darryl Robbins.

As I took off my coat, and placed it in the living room, Melton asks if I would be interested in having a beer.  “We have high brow  beer, and non-high brow to choose from.  Feel free to pick whatever,” he says to me.  I choose the non-fancy beer, which is  Genesee-one of bassist Larry Evans’ favorite selections.  Having known that Evans enjoys Genesse, I also have drunk the beer before and became a fan of it also.  I make mention to bassist Larry Evans that he is partially to blame for my appreciation of the  beverage.

“Really?” says Evans with a shocked look.  I explained to him that I took a case over to a get together over the past summer.  I received a mix reaction from the party goers when I arrived-ranging from some that were enthused to know that I knew what the beer was, to outright ribbing because of how cheap you can get it.

“Don’t let anyone tell you otherwise,” Evans, ever so kindly says to me with compassion written all his bearded face.

The conversation between everyone jumped around from topic to topic.  Baker begins talking about a recently purchasing an amp that now has been blown out.  Even though Baker claims it’s pretty old, Melton makes mention that he may know some people that could possibly repair to amp.  The discussion then shifts to how the popular 80’s television show Cheers opener has a longer version to it online, and it’s actually good.  Baker’s girlfriend declares that she wants to make a trip over to Ghostlight Coffee, and would like to know where it’s located.

Within a half hour or so at being at Melton’s house, Woessner comes to do the photo shoot.  The first location was inside the small kitchen.  Woessner flips and fluffs the curtains some to block some of the light reflected in.  After the photos were shot in the kitchen, everyone is directed outside.  The band stands in front of an old, decaying structure that closely resembles a barn.  After the shooting of the new pics was finished, we moved downstairs to where the band practices.

As you walk a little farther into the basement area, you stumble upon the recording equipment placed on a table, with a cushioned couch placed beyond it.  Stacks of cassettes are laying around behind the boards.  The few demo cassettes that sit on the table are just the tip of what Melton has.  He has archived most of the demos of  his early bands, including a jam band he was part of  in 1994-1996 titled Critical Mass.  “I have hundreds of tapes of every live show we did (laughter),” says Melton.  This space is also where most of the Smug Brothers are recorded.  In the beginning stages of recording, Melton and Thrasher will lay down the basic tracks with demos on a four-track cassette machine, then pull from the best songs.  With Woodpecker, Smug Brothers went to the studio to lay down the tracks with the whole band together for the first time as the new lineup.  While the end result is a more polished album, the band’s mid-fi sound that their fans have come to love stays the same.  Smug Brothers follow the Bob Pollard blueprint of quick songs but tight in structure.  Much like Pollard, the finished product is also a perfect blend of catchy guitar riffs and vocals, and Thrasher’s fantastic work on drums.

The members of the band take their spots within the second area of the basement.  Stone walls encase the practice vicinity, and colored LED lights hang loosely on the beams above us.  The space isn’t made for tall people like myself and Evans, as we had crouch down some while walking around.  Luckily for Evans, though, he has a spot where he can stand somewhat normally.  After mic checks from Melton and Evans are situated, the group begins to torch through songs of Woodpecker Paradise.

Going into the tenth year of existence, it’s amazing to see how Smug Brothers have blossomed into what they are today.  The duo of Melton and Robbins were in the rock group Montgomery Greene at the time when they begin what would be Smug Brothers.  The plan was to be a recording band, and nothing more.  The duo released their first album under the Smug Brothers moniker Buzzmounter in 2005.  A couple of years later, Robbins and Melton went back to work on some new material.  They enlisted a local musician to do some of the drums for the new music who had runs with legendary local bands Swearing At Motorists and Guided By Voices.  Robbins and Melton loved the drummer’s style, and were eager to include him into the project.  That drummer turned out to be Thrasher.  With Thrasher getting involved, Smug Brothers started to take off.

Since then, the group has gone through various lineup changes, with departing members going to other projects and ventures.  Jason Short, who played with Melton in Montgomery Greene, played two songs on Fortune Rumors.  When the decision was made to start playing live, Marc Betts (also from Montgomery Greene) and Baker joined Smug Brothers in 2009.  In 2011, Betts left the band. The group had a small sabbatical for a short time, back in 2012.  Smug Brothers had recorded On The Way To The Punchline with Robbins, but the members got tied up in other things.  Melton and Thrasher were heavily involved in setting up another Dayton Music Fest.  Baker was playing in a couple of other bands around the area.  The band’s bassist Shaine Sullivan became heavily involved with the purchasing of what is now Canal Public House.  When Melton and Thrasher wanted to get the band rolling again, Sullivan bowed out.  Evans hopped onboard shortly after, and the rest is history.

The week of the album release party  I join Thrasher and Melton for drinks at one of our favorite meeting spots.  It’s always a pleasure to sit with two of the pioneers that will be engraved in the history books of the Dayton scene.  Much like the day of the photo shoot, our conversations bounce around with ease.  Melton and Thrasher talk about how with the latest lineup, they feel that it’s fresh.  “I feel like we are just at the tip at whatever this band is going to be able to do,” Melton says.  “The four of us are at a pretty good page.”

With everyone being excited with the release of Woodpecker Paradise, Smug Brothers have already been setting their sights on getting some new music rolling.  Melton and Thrasher have already laid down some tracks, while Baker and Evans are beginning to get their parts put together.  Smug Brothers would love to quickly release as much material as they can.  “I just want this songs out,” Melton says enthusiastically.  “We can sit here and work on them, pick the best ones…do a thousand different things.  At the end of the day, why?  Let’s go with our gut.  What sounds good?  Is that right?  Great.  If its not, say no.  Redo it.”

“We are still making up for lost time, too,” Thrasher added.  “And we love to make songs.  So it all feeds together.”

Like most of the times we get together, our conversation bounces around.  Melton mentions that he would love to take the trip around the United States and see the open land sometime.

“Got to do it at least once, man,” Melton says.

“Probably better when you’re younger (laughter),” Thrasher quips.

“True, but you see I would have perspective, be able to appreciate it more,” Melton responds back.

Smug Brothers celebrate their latest release Woodpecker Paradise tonight at Blind Bob’s Bar.  The release party will also include Human Cannonball and Forage.  Show time is 9pm.  21+.  Copies of the album will be available at the show.

Renaissance Man: An Interview with Singer/Songwriter Jason Trout

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Singer/songwriter Jason Trout, who spent most of his early days growing up in the city of Marion, Indiana, has been a pretty free  spirit throughout most of his life.  Without any proper training or push towards it, Trout was around eight or nine when he started  writing music.  Late last year, Trout released his solo debut LP Out Of My Mind And Into Yours.  The album is a lo-fi indie/folksy album  that was recorded in his home using a Tascam 4 track.  The new album, which follows his debut EP Off The Field Issues, marks a  new direction for Trout.  A path that didn’t come easy.

Creating and playing music at one point was put onto the side temporary when Trout started attending Ball State University in 1995  to study law.  “I went into college thinking, ‘Okay, I’ll be a lawyer.  Be will be a 4.0 student’,” Trout mentions.  “That’s what my mom  and dad wanted.”  His progression into law was short-lived, because for Trout-law was never the direction he was supposed to go.    Trout switched majors, going to theater.  “I didn’t think I was a good enough vocalist or guitarist to major into those,” Trout added.    The musical side of Trout, his desire to create something special, was growing larger and stronger.  He couldn’t accept the fact that    the direction of life is headed toward a future that wasn’t thrilled about.

Between the age of nineteen and twenty, Trout finally accepted that playing music full time was inevitable.  He packed his  belongings and moved to Austin, Texas.  “I’ll be honest with you-Austin is the only place that ever felt that I belong.  Without  question,” Trout said.  In spite of moving to Austin, the city wasn’t Trout’s first choice.  The goal was to originally move to Los  Angeles.  With the guidance of his college theater group, along with his love of director Richard Linklater’s work, Trout almost immediately felt at home within the city.  He quickly started to develop a following with his music, and soon started to see his hard work paying off.  Large record labels started courting Trout-flying him back and forth from city to city, riding in limos.  A year of writing and performing included, along with the dream slowly starting to become reality-things were looking good.  The payoff was coming.

However, the toll on Trout started to mount.  What was slowly a dream developing into reality quickly evaporated.  There was an unraveling infrastructure inside one of the labels that were interested in Trout.  He also was led astray from someone, giving false hope.  Around that same time span, the relationship that he is in suddenly ended.  The emotional toll began to weigh down on Trout.  “I wasn’t able to think straight or move correctly.  My body was affected.  I didn’t know what was going on,” Trout explained.  With his world crumbling all around him, Trout went to get away and visit his folks, whom at the time lived in Knoxville.  While we was there, he was diagnosed with having a nervous breakdown.

Even though he wanted desperately to get back to Austin, there was something that pulling him to stay in Knoxville.  The decision to stay turned out to be beneficial.  As the healing began, Trout spent a great deal of his time there being with his mother.  They would spend every single together, catching up.  Trout mentions that his mother was a key component to getting healthy again.  Little did they both know, the time together would be meaningful than they could imagine.  Trout’s mother was diagnosed with cancer, and passed two months later.

Trout’s time in Knoxville also got back to doing what he loved-playing music.  He led the formation of his band The God Star Social.  They band began playing some gigs at local clubs like The Pilot Light, Axis, and Java.  After the release of their first EP A Queer Sultry Summer in 2002, the band released their 2003 debut LP Decidedly Lo-FI/Revolution And Static Sky.  The album garnered national and internationally acclaim, with critics singing the praise of the band, the record, and most of all-Trout’s vision.  Trout spent the next 5 years touring the U.S. as The God Star Social, both solo and with a rotating cast of musicians. He released the last God Star Social record in 2008.  During that period of time, Trout met his now ex-wife during a show in Columbus.  When they were married, they lived in Austin briefly before moving back to Ohio.

Although we has had to overcome some obstacles from the past couple of years, ranging from divorce and family tragedy, Trout  explained that he views this time in his life as a renaissance of sorts.  With the release of Out Of My Head And Into Yours, it marks  the first time is releasing music under his own name.  He has found peace within himself, which is remarkable considering at one  point-he didn’t write a single song for years.  Now, he is currently planning and prepping on new records with The Touchy Feelys,  his indie vocal duo with Andrea Dawn Courts, and City Deer, his punk folk band with drummer Lucas Longanbach and bassist Chris  Lute. Trout is also working on a cover album on his favorite artist, Daniel Johnston.  “I never been a big cover guy,” Trout says.    “These songs feel like my own, so it’s real easy to do it.”

As he sits in his home in Athens, Ohio, longer is that struggle to be happy for Trout.  One main reason is what came out of his now  finished marriage-his wonderful  daughter.  Trout beams over the phone when we talks about his deeply introspective daughter.  “We  talk about what she could be  when grows up.  I ask her what she wants to be, an actress or a doctor.  She says, ‘When I grow up, I just wanna be me.’,” Trout says.

That’s exactly what the older Trout is doing.

To get a copy of the new album, click on Trout’s website:  http://www.jasontroutmusic.com/

Curse of Cassandra

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Left to right: Jacob Richter, Nicole Richter and Ryan Wolfe

Walking into the room we pass through a chainmail curtain into a space steady pumping with a rhythm like blood flow. The lights are blooming bursts of colors, flashes that feel like explosions of excitement. These effects catch pace, divert from, and charge against. This could have a somewhat dizzying effect if it weren’t for the fact you’re instantly swallowed up, hypnotized, lost in the music. A smooth female voice goes from whisper to pure melody. She sings against a backdrop of pounding beats and haunting synth work. The effect is alluring, disarming and entrancing. This music is often too enticing, to rhythmic, not to dance, but still manages to lose no edge from its darker undertones. It’s like dancing with the devil, you can see and feel the dark dangerous edge, but you simply can’t resist.

This band is Curse of Cassandra and believe it or not they’re from Dayton Ohio. This incredible show, and fantastic performance was in fact a release show for their new album Night. Being a local born Dayton girl myself it wasn’t too hard to hunt down this band.

Curse of Cassandra formed in May of 2013 when Jacob Richter (synths/vocals) began writing songs and discovered Ryan Wolfe (percussion/effects) through the internet. Originally playing bass on synths, Nicole Richter stepped into the role of lead vocals in 2014 to form the band that exists now.

I recently got an opportunity to speak with the lead singer Nicole Ricter. I was excited to find out exactly what inspired and influenced their music; “The music and lyrics are inspired by vampires, cyberspace, the occult and otherworldly encounters intertwined with concepts of the night and the erotic connections that may ensue.” Ricter explained to me.

With a band of such wide influences one can wonder how they developed their specific sound. “Curse of Cassandra’s sound began with dance beats and haunting melodies, and has since become bound up with the seductive undertones of steampunk and gothic aesthetics.” Ricter said.

My mind drifts back to the incredible performance I’d seen that night. I ask about what they aim for fans to experience when attending a Curse of Cassandra show. “Definitely dancing and a sense of beholding the night as a temporary time of play, eroticism and enjoyment.” Ricter said.10313974_789011351132463_5433109261430486416_n

Night, this is the one word title of the new album. Night looms overhead, like a black sky sprinkled with stars, like the dark in which people feel unrestrained and anonymous enough to embrace their own secrete desires. This album has been made with professional care, skill and the dedication of a band who gives it their all. “The producer of our album Jason Rubal (Dresden Dolls, Amanda Palmer) flew to Dayton to spend time getting to know each of us on a personal level, listen to music and consume cinema to better understand who we are in order to create the best possible album that is an authentic representation of us. He so did smoothly and with effervescence.” Ricter explained to me about recording the album. “It differed from previous experiences in that we are an electronic band that seeks to emulate live what DJs and EDM artists do. Jason helped us create live percussion using real drum sounds that are unique to our album, and mixed in the synths and vocals with a sense of space and depth.”

Night is a beautifully constructed album that showcases very well the band from which it comes. In her own words Ricter describes the album as; “Sexy. Playful. And of course, dark and sensual.” Night is undeniably an album that showcases Curse of Cassandra at their best.

 

You can catch Curse of Cassandra for yourself at their upcoming shows:

Blackheart’s Ball w/Curse of Cassandra, Hematosis and Where the Nameless Dwell  Friday, February 13 at 9pm at  Therapy Cafe

Blind Bob’s, Friday, March 6th

Oregon Express, Friday March 13th

Grenades!?’s Debut Is Strong For A Group Stretching Their Legs For The First Time

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Grenades!?: Interrobang

grenades-picAlbum Review: It feels like the phrase “stretching their legs for the first time” is a bit of an exaggeration. There’s been quite a history between lead-vocalist/keyboardist Daniel Madero and Mike Patak Jr. From Stone The Mayor Sheriffs, to Temper, Temper, Temperature (At The Drive-In cover band), now to Grenades!?. Having parted ways with recording member Daniel Cortes (second guitar/backing vocals), Tyler McKinley keeps the musical tradition strong playing in Roley Yuma as well as Dear Fawn (which also includes Madero, but on drums). Rounding out the quintet is Josh Moody on bass and Andrew Chenault on drums. With Grenades!? having such strong roots in Dayton, Ohio’s music scene, it’s no surprise that their debut, Interrobang is catchy and fun, if a bit safe.

It’s an exciting prospect when you hear of a group that has been playing for along time scrap all their live material only to record totally new songs for their first LP. That’s exactly what happened to Grenades!?. (I still think there’s a case to be made for “Balcony Bash,” though; maybe next time.) Passing the intro track, “I’m Aware Wolf” finds Grenades!? starting the show off with a show stopper. Madero moans and yelps as a heavy handed guitar-megalodon pounds and solos to the end. While reminiscent of acts such as Walkmen and Klaxons, Interrobang most reminded me of hearing the ever so catchy Arctic Monkeys’ Whatever People Say I Am, That’s What I’m Not.
With songs like “Space Heater,” “Working Title,” and title-track closer, the album is danceable, sexy, floaty, and poppy. With titles like “Starship Bloopers” and “All The Good Teas Chai Young” you may think that Grenades!? is playing around; but in reality it’s that sense of humor that feeds into their live presence. Interrobang has the potential to make a strong live showing, but it’s the risk factor that may limit its listenability. I hope to see a follow up, because the addition of McKinley could lead to some interesting avenues being explored. While the risk factor is low, the rocking factor still totally holds up. Does Grenades!? have the ability to stand out from a burgeoning Dayton music scene? Only a follow up will tell so here’s hoping.

Self-Released [2015]
ratings3_5

Key Tracks: “I’m Aware Wolf” / “Starship Bloopers” / “Performance Anxiety”

Artists With Similar Fire: New Order / Walkmen / Klaxons

 

For more music reviews visit The Fire Note, a unique voice in the current music scene that will consistently offer a different perspective.

From Stratocaster to Stratosphere – Noah Wotherspoon Takes Big Win At 2015 International Blues Challenge!

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Noah Wotherspoon band with Rob Thaxton on bass and Brian Aylor on drums

Noah Wotherspoon band with Rob Thaxton on bass and Brian Aylor on drums

Custom Gibson 335 Albert King Blues Guitar

Custom Gibson 335 Albert King Blues Guitar

The legendary Beale Street in Memphis, Tennessee was the scene of an international showdown. For four days in January, (20-24), 250 blues acts from around the world came to compete at the 31st. Annual International Blues Challenge. Daytonian Noah Wotherspoon took top prize, the coveted “Albert King Guitar Award” for best guitarist and placing 2nd. in the band category. To recap, best international blues guitarist, 2nd. best international blues band. That’s “international”, as in, “the world.” He confesses that late night “did that happen?” texts to his mother help to wrap his mind around the experience.

This trip to Beale Street was not the first. Representing the Dayton Blues Society, Noah and his 2 man crew of Rob Thaxton on bass and Brian Ayler on drums, were accepted into the challenge in 2012, 2013 & 2014. As in past years, Dayton and Cincinnati were well represented with area favorites such as Doug Hart. In three days, Performers passing each round of quarter and semi-finals end up on the Orpheum stage for the final showdown. Noah remarked on the ever-present spirit of Elvis inside the Orpheum, a venue where a teenaged Elvis Presely held a job as an usher. Just working on that stage is a prize that many artists dream of.

The take home prize for the “Albert King Guitar Award” included cash for travel reimbursements, billing on prominent blues fest venues, a “Category 5” Amp and the custom Gibson 335 Albert King guitar.

It’s a long way to Beale Street, just ask Dayton native Noah Wotherspoon. A child prodigy, Noah spent much of his teen years sharing the stage with every major blues great you can name. He also spent many years on Dayton stages such as Gillys Bar and Jazz club with his band “Noah and the Stratocasters.”

Noah Wotherspoon, 16 years old

Noah Wotherspoon, 16 years old

Many interviews are archived with a 14 year old Noah. At the time, most questions centered around what it was like to share the stage with legendary blues artists around the world, then come home to play venues that required him to be accompanied by a parent. Even now in his early 30’s, his youthful appearance and humble demeanor add to the shock value for those who are new to the Wotherspoon guitar wizardry. Noah recalled one of his favorite stories of being 16 years old with shoulder length blonde hair and commonly being mistaken for a cute girl. Being blessed with a sense of humor, he shared some of his favorite incidents with me. One such story involved a blues hero of his, Bobby “Blue” Bland. Before taking his turn on the stage, Noah was up front in the crowd, admiring Bland’s set. As any performer might react to a young attractive fan, he was singled out for a very special serenade of “Little Red Hot Mama” from the stage. The audience of blues fans familiar with Noah’s work felt they should inform Mr. Bland of his faux pas by collectively yelling “HE’S A DUDE!” Now, many years later, this is a “family” joke between Noah and one of his closest friends Rodd Bland, the son of Bobby who played drums for many years in the band. Bland and Wotherspoon’s bond deepened over the last couple of years when the two lost their fathers within a short time frame.

Tonight, (Tues. 2/3), you can hear Noah recount the experience of the International Blues Challenge, growing up on the stage, and more as he joins Gene Charles during “Blues Corner” on WSWO Oldies 97.3FM and streaming at . Tune in from 7pm-9pm Eastern.

On Thursday, (2/5), from 9am to noon, he will be talking about the Cincinnati Blues Society Winter Blues Fest on WNKU.org.

Keep tabs on Noah, his bands and his side projects, such as “Nowhere Bear” custom guitar straps,
here:

Here is a brief excerpt from an interview Tony Peters of WSWO Oldies 97.3 did with a 14 year old Noah:

Sound Check: An Interview with Tim Anderl and Frank Steele of Sound Check Chat

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 It’s a relatively low-key night at South Park Tavern when I join Tim Anderl and Frank Steele.  The patrons are all scattered around the establishment, as the televisions above the bar are showing one of the few college football games left in the season.  The three of  us dive into a nice little collection of pizza and wings, and partake in some of the draft beers that are available to choose from. Being  in the journalism field since 1996, focusing primary on the music side, Anderl’s bio comprises thousands of hours invested and  countless interviews conducted with artists that are listed in every category and genre that could be ever thought of.  Bands that tour  around the United States to perform in local bar/venues, along with the ones that are seeing success that expands beyond their  wildest dreams-Anderl has the privilege and fortune of being part of the music scene for some time now. With his current roles of  web editor/writer for Ghettoblaster Magazine, New Noise Magazine, along with his local work at Dayton City Paper-Anderl has  become widely known for his celebrated work in the music business.  The next step towards bolstering his name started in March of  last year, when Steele and himself begun a bi-monthly podcast that is titled Sound Check Chat.

With the aspiration of writing for publications like Rolling Stone and Spin growing up, Anderl took the proper steps to fulfill that desire by earning his degree in journalism at Ohio University.  Even with landing great opportunities like interning for Alternative Press magazine during his college days, the hope to release work in the popular music periodicals never truly materialized.  “I was dating someone that I wanted to marry who was still in college,” Anderl explained.  “I went and got a day job and waited for her to graduate.  By that time, we had family in the area, and I had settled into the job.”

Coming to terms with not writing for large publications was difficult, but Anderl went to work on finding different outlets to release his writing.  He created his own website magazine formats for a period of time, including one that is still rolling-YouIndie.com.  Opportunities to do some freelance work for other publications, such as Strength Skateboarding, Substream Music Press and blogs DoneWaiting, Delusions of Adequacy came along the way soon after.  Podcasting was something that had never crossed Anderl’s mind.  He mentions that he has listened to an assortment of shows, mainly on NPR, but when he reflected on venturing into the medium-he decided against it.  “I really didn’t have the time to do it myself,” Anderl says.

As luck would have it, Steele was already setting up possible ideas and formats that would eventually become a podcast. With a background specializing in web, television, movie, production and design, Steele has been creating video media content around the Dayton area.  Success has come to Steele, and with good reason.  With his work in production, he has been awarded with having winning music videos with artists who have appeared on MTV, VH1, and CMT.  He bounced around some concepts for the podcast, and settled on having the show concentrate on music.  Steele pitched the idea to Anderl, and he quickly hopped onboard.  The two friends had previously done some work, with a video production that was shot in Rumbleseat Wine when Jonathan Kingham (singer/songwriter that also was a touring member of Toad The Wet Sprocket) came to town in 2012.

Sound Check Chat’s nucleus is pretty straightforward-the show is centered on Anderl speaking with musicians from all over the United States and beyond. Roughly closing on the 30 minute marker (some longer than others) with each interview segment, Sound Check Chat is an insightful look for music lovers. “Tim is one the phone for a lot of the interviews anyway.  I said to him let’s record the conversation, and make a podcast of that,” Steele explained.  “It would be an extra product that you can offer.”  With the tight editing courtesy of Steele, you don’t get much in the way of prolonged silences, questionable motives, and delayed responses. Anderl’s remarkable interviewing with his extensive research on each guest captures moments that you would normally wouldn’t get with most podcasts being aired, which is what gives the show such a pleasure to listen to.

With sixteen episodes already released, Sound Check Chat is still continuing to grow month by month.  The duo already has sponsorship for the show, which for beginning podcast obtaining such a feat is worth being noticed.   Some highlights of shows that have been released already include JT Woodruff from Hawthorne Heights, Chris Simpson of Mineral, and Violent J from Insane Clown Posse, it’s clear that Anderl and Steele will be providing listeners a wide array of musical talent to hear from.

Steele and Anderl reference that the whole development and growth of the show has taken a little bit of time, and possible will be slowly built.  However, the duo have made the decision to keep it way. They aren’t about going out and chasing numbers.  They want to have a show that is true to them.  “We have been letting it happen organically,” Anderl says.  “It would be disingenuous for us do to any other way…people seemed to be enjoying it, and that’s good enough for me.”

To listen to the show, go to the website http://soundcheckchat.com/.  You can also subscribe to the show in iTunes or Stitcher Radio.

Madman Across the Water: The Music of Elton John

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concert_1415_RO2On Saturday, January 31, 2015 at 8 pm in the Mead Theatre of the Schuster Center, the Dayton Philharmonic Orchestra, under the leadership of Conductor Patrick Reynolds, will present Madman Across the Water: The Music of Elton John, featuring rock ensemble Jeans ?n Classics, the second concert in the 2014–2015 Dayton Freight Rockin’ Orchestra Series. Associate Sponsor for this concert is Miller-Valentine Group.

Dayton Philharmonic Orchestra is pleased to announce Dayton Freight as the new title sponsor for its Rockin’ Orchestra Series, which includes four remaining concerts in the 2014-2015 New Horizons Series. “At Dayton Freight, one of the ways we demonstrate how much our customers and employees mean to us is by providing financial support and being an active participant in community initiatives and organizations,” said Mike Cronin, Executive Vice President of Dayton Freight. “We appreciate serving our community wherever and whenever we can, and we are especially proud to support the DPAA as Title Sponsor of the Rockin’ Orchestra Series.”

Springfield Symphony Orchestra Presents 1788!

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yl0eba1siq3wo429bldtz7lj01u1jzooThis concert brings to a close the SSO’s first-ever Mozart Festival; a ten-day celebration of the music of Wolfgang Amadeus Mozart, one of the most creative minds in history. During the summer of 1788, Mozart enjoyed a flurry of compositional activity, producing over a dozen new works, including his three final symphonies. But this composer who always created with a specific occasion in mind wrote these monumental works with no apparent cause. Each one unique in sound, structure, and style, they are marvels of invention, and very human statements. Perhaps they are the result of an inner compulsion to create, somehow knowing that the end of his life was near.