By Zac Taylor
Managing Editor

Better in the Summertime, Natalie Smith’s debut EP, opens with: “Boys and girls go through each other like disposable toys, taking out all the joy.” This opening track, “Call it Off,” is the first of five tunes that weave together sharp, straightforward lyrics and pop textures with dirty electric guitar and driving keys.

Smith’s punchy and, at times, gritty vocal delivery finds a balance between Alanis Morissette’s confessional attitude and Ingrid Michaelson’s bubble gum charm.

The record was recorded this past fall; it’s no wonder that the wretched New England weather has given this California native the wintertime blues. The title track, a melancholy power ballad, finds Smith coping with an everyday case of seasonal affective disorder: “Somewhere between the autumn leaves and the equinox I buried my hopes in all of the snow,” she sings.

You can clearly hear a Ben Folds vibe in the tune “Never Gonna Be,” complimented by producer/keyboardist Matt MacArthur’s contributions on both sides of the glass. This comes as no surprise, considering that Smith actually sang back-up for Folds for his performance at the Boston Symphony Orchestra. Clearly a well-trained singer and songwriter, Smith always keeps the song at the top of her priority; no excessive vocal runs or any other showy elements that would distract for her stories.

These songs have the grrl power substance that pop tarts like Avril wish they could write (or have written for them). There is an uplifting thread that tie the narratives together in a well-produced, radio-friendly package—just in time for summer—when “hope is finally in bloom again.”

By Ann Driscoll
Associate Editor

If I were a music publisher, I would snatch up Alicia Lemke in a heartbeat. She has TV and film placement potentially virtually embedded into her earthy, wistful folk-pop debut Shades of Motion. To begin with, the five-song EP is exquisitely produced and performed by Lemke, a Berklee freshman, and her team of recent alumni: Josh Fobare, Alvaro Kapaz, Pablo Eluchans, and Ryan Gleason. Lemke’s pretty, conversational vocals are clear as a bell, occasionally accompanied by soft harmonies. A steady interplay between piano and acoustic guitar form the harmonic texture of most of the tracks. The arrangements compliment the songs without being obtrusive — from the upright bass on “Wave to Nowhere” to the organ on “The Break-Up Song” to the hand claps on “I’m Here to Stay.” Recorded and mixed by Gerry Putnam at Cedar House Sound in New Hampshire, the music is sonically ready- as crisp and well-performed as any Ingrid Michaelson or Colbie Caillat record.

The 22-year old Lemke has a knack for straightforward, unpretentious lyrical nuggets: “I miss you as much as anyone can miss what’s done- done are the days of ever after,” she sings with resignation on opener, “Wave to Nowhere.” Lemke graduated from Swarthmore with a degree in Theater and a minor in Biology, and spent a summer, conducting environmental science field research in Australia. She contemplates the physical world with impressionistic observations in the title track. “Purple light frames the highway/Spinning past yellow dotted lines/Counting signs.” Lemke remains even-keeled and earnest throughout her recounting of bad breakups. She sings, “You screwed me once and you screwed me twice” and completes the couplet with “My problem is I haven’t taken my own lame advice.”

On closing track “I’m Here To Stay,” Lemke showcases more pop than folk with “Come On Eileen”-esque melody soaring above multi-tracked handclaps and jumpy piano. You could easily hear it in a Target ad or a Grey’s Anatomy episode. In this day and age where sync licenses earn artists more money than record sales, there may be no better compliment to pay Shades of Motion’s industry potential.

Shades of Motion is available now on iTunes and physical copies will be available at Alicia Lemke shows.

Cato, Carter, and Cleveland visit their alma mater.

By Zac Taylor
Managing Editor

Last Friday in the Steve Heck Room, three NYC-based Berklee alumni spoke to a room full of current students who were interested in making the move to the big apple. Les Cleveland (’05) is a drummer and bass player, who has performed with artists such as Roberta Flack and Prince. Louis Cato (’04) is also a drummer and bass player (although he seems to play everything), who has performed with Stevie Wonder, Marcus Miller, and is close with Cleveland as both a friend and colleague. Matt Carter (’03) is the general manager of acclaimed MSR Studios, and has overseen projects that have won Grammys, and many other records that have done platinum and gold.

All three alumni talked about how their careers first started in the professional world, and how it led them to the big apple. “It’s hard to build a scene in Boston,” Carter said in regards to his decision to move to New York after finishing his MP&E Degree. “I was playing three to five nights a week at Wally’s, only making $50 a gig,” Cato said in concurrence. “Make sure you save a lot of money before you go,” Cleveland added.

The three alumni talked in detail about the importance of networking. “Don’t call someone and just say ‘Hey—you got a gig for me?’ Go to the movies, go shoot some pool, or play cards,” said Cleveland, who lives in a house full of musicians in Brooklyn. “Pay attention now to the people you go to school with,” said Carter.

“Even more than who knows you, it’s who likes you.”

Berklee students soak in the advice. Photos by Karen Bell.

Many students and even some parents asked questions with regards to how Berklee helped them, how they paid rent, and other aspects of their lives. “There’s no way you know what you’re getting into,” said Carter. It was a highly informative session, which closed with Cato articulating the crucial entrepreneurial mindset: “Be ready to be tired, be ready to hustle, and always be ready to put yourself out there.”

By Liz Turner

The Boston Ballet’s production of Coppélia is truly a magical performance the entire family can enjoy. This ballet tells the comedic story of a doll that comes to life, and results as a love conflict throughout the villagers of the town. This ballet based on the book Der Sandmann by Charles Nuitter and E.T.A Hoffman, and was first premiered by the New York City Ballet in 1974. Since then, the Boston Ballet is the third company in the world to perform this classic, making its debut this spring for the Boston Ballet.

Coppélia’s beautiful choreography was created by the legendary George Balanchine, which the Boston Ballet creates an excellent performance of replicating his exact choreography.

The music of Coppélia by French Composer Leo Delibes (1836-1891) is performed by a 50-piece orchestra, which carries out the romantic style of the 19th century. Delibes was known for writing great operas and ballet’s and was considered a “Dancer’s composer” for inspiring movement with his music.

Coppélia is presented by the Boston Ballet, which is performed by more than one hundred incredible dancers from around the world, along with local children who are studying ballet.

Coppélia leaves you with a warm and magical feeling that you don’t want to end. If you have never been to a Boston Ballet Performance before, you do not want to miss this! Coppélia is playing at the renowned Boston Opera House, located at 539 Washington St.

The Ballet is being performed now until April 18, tickets can be purchased through www.bostonballet.org or at the Box office at the Boston Opera House, which is opened M-F 10 to Curtain, and on weekends 11-curtain. Tickets range from $25 to $140, and is well worth it for this inspiring Ballet.

By Zac Taylor
Managing Editor

At last month’s South by Southwest Music Conference and Festival, over 1,700 bands from all around the world came to Austin, Texas to partake in this renowned networking event. Throughout the week, there were a handful of Berklee showcases, both unofficial and official ones. On Tuesday, March 16, Tono Music Group sponsored a showcase at the Flamingo Cantina which featured predominantly Berklee musicians. Kris Roche opened the show, offering reggae-infused acoustic pop with feel-good hooks and monster grooves from Derek McWilliams on bass and Bruno Esrubilsky on drums. Next up was Zac Taylor & The Drugs, followed by Egypt-native Yasmin Tayeby, who played a lovely solo acoustic set. Heavy Rotation Records’  Nini+Ben, Ann Driscoll and Jordan Tarrant, came next, all of whom played scathing sets.

The hostesses of the evening, Evelyn Brown and Ashley Root (a.k.a. Merry Go Round), headlined the evening backed by their new amazing band. Since graduating Berklee this past December, Brown and Root have made Austin their home base, and just released their debut self-titled LP through Tono. The band performed cuts from the record, including pop-country gems “Be With Me,” “Ferris Wheel,” and “Better On My Feet.” Country Rock powerhouse Sam Riggs Band closed out the evening.

Jordan Tarrant performs at Lucky Lounge

The next Berklee function was an unofficial showcase at the Lucky Lounge the following Thursday afternoon. Alumna Amber Rubarth started the show with her unique brand of jazzy pop noir. Jordan Tarrant took the stage next, thumping out bluesy rock with Russell Lacy twanging on Telecaster, Derek McWilliams pumping on P-bass, Tommy Bohlen pounding on pedal steel, and Curran McDowell rocking the drums. Alumna Sara Houser, Grant Himmler, and Ali McGinley, a.k.a. A House A Home, all of whom moved to Austin last year, played a lovely set of pop rock tunes, followed by a powerful solo set by Melissa Ferrick.

The official Berklee Showcase took place Friday afternoon at Friends on 6^th Street. The room was packed for this 5^th annual event, which was hosted by alumna Sarah Sharp, and featured current students, alumni and also some students who have taken online courses at BerkleeMusic.com. Many Berklee faculty were in attendance, including President Brown and Music Business & Management Professors Jay Fialkov and Jeff Dorenfeld.

The lineup:
Shayna Zaid & The Catch
Love Like Fire
Ann Driscoll
Jordan Tarrant
Stefan Wm
Nini+Ben
The Young Republic
Audible Mainframe

Justin Hancock, Bruno Esrubilsky & Ann Driscoll.

Ann Driscoll, who is on the current Heavy Rotation Records roster, strutted her stuff onstage with her new orange Gretsch guitar, and her band sounded in top form on fan favorites like “I Wanna Be Your Zombie” and “Trophy F***.” “The Official Berklee Party was at Friends was the most fun,” Driscoll said. “At each showcase, we played only 5 songs, which is fun and exciting—to play your greatest hits. No filler, all killer, as they say.”

HRR Labelmate Jordan Tarrant had the most Texified sound of the lot, considering he’s an Austin native. A highlight of the show was an exceptional performance by Nini+Ben, who played tracks from their record The Reasons We Try, as well as some new songs that showed hints of a more dynamic, experimental direction a la Wilco.

On Saturday, President Brown hosted a BBQ, at which Nini+Ben performed, followed by another Tono Music Group Showcase at Waterloo Icehouse later in the evening. Many of the same acts from the Flamingo Cantina showcase performed stripped down acoustic sets, including Kris Roche, Zac Taylor, Jordan Tarrant featuring Russell Lacy, and Dave Scher. Sam Riggs Band and Nini+Ben played full band sets, and the showcase ended with a breathtaking set from Merry Go Round.

“The SXSW experience was one I’ll never forget,” said drummer Bruno Esrubilsky. “Spending a whole week with amazing friends and musicians in one of the coolest cities I’ve ever been before was just amazing.”

By Mike Maleson
Contributing Writer

Roy Hargrove at Jazz Alley Photo by Claire Scarbeary.

On Thursday, April 1, Icons Among Us: Jazz in the Present Tense had two screenings at Berklee, sponsored by the Office of Cultural Diversity.  Afterwards there was a panel discussion with producer B. Dahlia, Cinematographer/Co-Director Lars Larson and musicians Anat Cohen. (Berklee alumnus ’98) and Greg Osby (Berklee Professor).

The movie is visually beautiful, mixing the media of super 16 film as well as digital formats.  The music is also abundant and well presented.  Much of the live concert content comes from footage of concerts in Seattle, and there is also film from the Newport Jazz Festival (featuring Esperanza Spalding), a studio session of Ravi Coltrane, as well as a lovely scene of Donald Harrison fixing his house, teaching kids and making music in New Orleans.

Icons Among Us serves as a reaction to the box into which Ken Burns places jazz in his documentary series.  To that end, it begins with questioning the word “jazz” itself.  There are many notable artists who make claims as to what jazz is and is not.  The variety of musicians interviewed in the film all add to the discussion, proving that jazz is, above all else, an art form that inspires ideas. The 93 minute film was originally presented as a four part (4 hour) series on the Documentary Channel.

Icons Among Us is not for everybody, but those who love jazz, study music and have experience with music documentaries will love the film.  It’s a must-have for very library and music school.

Black Kettle: Narrative
By Zac Taylor
Managing Editor

“Oh please—tell me that you like me,” Keeley Bumford sings in the first tune of Black Kettle’s debut record, Narrative. Charming. Fun. Flirty. These words describe the songwriting, production, and even performances on these ten self-produced tunes.

The bulk of the record falls into the folky-quirky pop category, especially aforementioned opener, “Magnetic,” “Chameleon,” and “The King and All His Horses.” But after these first three single-worthy tracks, the Kettle throws a welcomed curve ball with the demure “Like a Book,” which sounds like a track from Tegan & Sara’s The Con.

Fast forward to “I Don’t Want to Know,” a ballad lush with gentle fingerstyle acoustic guitar and elegant violin. Bumford loses the cheeky flirt in favor of passive jealousy, cooing “You’re crawling up my spine, you’re in through my ear, down to my heart, I’m losing all direction, but I don’t want to fall this time.”

Narrative’s sound immediately tosses a grappling hook into your eardrums upon which the oohs, bop-bops, whoa-whoas, ukeleles, and glockenspiels climb into your brain and hang out. The guitar work and orchestration from Kailynn West and Peter Holland-Recine sounds as sharp and well executed as anything Blake Sennett (Rilo Kiley) has done recently.

The band’s CD Release Show earlier this month at Café 939 was very well-attended, thanks in part to openers Tamsin Wilson and Natural Forces. Wilson’s honest delivery and positively lovely stage presence mesmerized the crowd. Accompanied by Jörn Bielfeldt on cajon and Tommy Bohlen on pedal steel, the mellow trio played tunes off of her self-titled EP, including the entrancing tunes “Just How it Goes” and “Foolish.”

Left to right: Bumford, Baum, Hayes, and West. Photo by Cierra Walker.

Natural Forces, an upbeat rock duo consisting of Josh Washam singing and playing guitar and Andrew Kahl backing him up on both drums and backing vocals, played tracks off of their new EP One-Track Mind, calling to mind a stripped-down Jet singing Jim Croce-style songs. The duo’s performance easily outmatched the energy from most rock trios and quartets.

Still hot from Heavy Rotations Records CD Release show in February, Black Kettle took the stage in full force, relishing the opportunity to get all of the sounds and quirks of their record performed live, including the bops, whoas, and oohs from sexy backup singers Elyse Hayes and Whitney Wolf. Throw in guest musician Chris Baum for the violin on “I Don’t Want to Know,” and of course the grooving rhythm section of drummer Curran McDowell and bassist Michael Manke, and you got yourself one hell of a CD Release Party.

And Keeley, to answer your first question: Yes. We like you.

By Zac Taylor
Managing Editor

Kate Chadbourne

Lauren Passarelli and her friend and colleague Kate Chadbourne treated the Red Room attendees to an inspiring clinic on coaxing out your muse last Tuesday, February 23. Passarelli, a professor in the guitar department, and Chadbourne, a songwriter, pianist and harpist, unabashedly revealed personal strategies about their respective writing processes with regards to creative islands of time as well as stubborn droughts that any creative person is bound to experience.

“I love listening to bootlegs of my heroes,” said Passarelli. “You get to see how great of editors these artists were. They’re just like us.” The discussion eventually included questions and responses from people in the audience, many of whom were students and faculty. “If you can muck around, you can make music,” Chadbourne said.

The discussion veered into the often fickle territory of the creative process. “Give yourself music like you give yourself vitamins,” Chadbourne said, who also teaches at Harvard. She encourages her students to push the envelope with regards to what they consume on the literary side of things, including children’s books, scholarly articles, newspapers, and lyrics. “Coast, and then push,” she said.

Lauren Passarelli

The two songwriters played only snippets of their songs in an effort to save some time and to point out certain aspects of roadblocks they encountered, and how they broke through them. “Don’t let anyone ever make your instrument into your enemy,” Passarelli said. “If someone gives you advice that makes you feel like writing more,” Chadbourne chimed in, “then it’s good advice. If it makes you feel like shutting down and curling up into a little ball, then it’s bad advice.” The two mentors bid good afternoon to the fellow creators in the room with a duet entitled “What Does the Wind Say?,” with Chadbourne on harp and Passarelli on guitar.