Letters

Letters 08-31-2015

Inalienable Rights This is a response to the “No More State Theatre” in your August 24th edition. I think I will not be the only response to this pathetic and narrow-minded letter that seems rather out of place in the northern Michigan that I know. To think we will not be getting your 25 cents for the movie you refused to see, but more importantly we will be without your “two cents” on your thoughts of a marriage at the State Theatre...

Enthusiastically Democratic Since I was one of the approximately 160 people present at when Senator Debbie Stabenow spoke on August 14 in Charlevoix, I was surprised to read in a letter to Northern Express that there was a “rather muted” response to Debbie’s announcement that she has endorsed Hillary Clinton for president...

Not Hurting I surely think the State Theatre will survive not having the homophobic presence of Colleen Smith and her family attend any matinees. I think “Ms.” Smith might also want to make sure that any medical personnel, bank staff, grocery store staff, waiters and/or waitress, etc. are not homosexual before accepting any service or product from them...

Stay Home I did not know whether to laugh or cry when I read the letter of the extremely homophobic, “disgusted” writer. She now refuses to patronize the State Theatre because she evidently feels that its confines have been poisoned by the gay wedding ceremony held there...

Keep Away In response to Colleen Smith of Cadillac who refused to bring her family to the State Theatre because there was a gay wedding there: Keep your 25 cents and your family out of Traverse City...

Celebrating Moore And A Theatre I was 10 years old when I had the privilege to see my first film at the State Theatre. I will never forget that experience. The screen was almost the size of my bedroom I shared with my older sister. The bursting sounds made me believe I was part of the film...

Outdated Thinking This letter is in response to Colleen Smith. She made public her choice to no longer go to the State Theater due to the fact that “some homosexuals” got married there. I’m not outraged by her choice; we don’t need any more hateful, self-righteous bigots in our town. She can keep her 25 cents...

Mackinac Pipeline Must Be Shut Down Crude oil flowing through Enbridge’s 60-yearold pipeline beneath the Mackinac Straits and the largest collection of fresh water on the planet should be a serious concern for every resident of the USA and Canada. Enbridge has a very “accident” prone track record...

Your Rights To Colleen, who wrote about the State Theatre: Let me thank you for sharing your views; I think most of us are well in support of the first amendment, because as you know- it gives everyone the opportunity to express their opinions. I also wanted to thank Northern Express for not shutting down these types of letters right at the source but rather giving the community a platform for education...

No Role Model [Fascinating Person from last week’s issue] Jada quoted: “I want to be a role model for girls who are interested in being in the outdoors.” I enjoy being in the outdoors, but I don’t want to kill animals for trophy...

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4Play

Ross Boissoneau - November 25th, 2004
Christine McVie – In The Meantime (Koch Records)

If you thought that 20 years between records would augur change, in the case of Christine McVie you’re wrong. The former Fleetwood Mac singer and songwriter’s new solo disc doesn’t sound all that dissimilar to her “Christine McVie” from 1984. Like that disc, “In The Meantime” is pleasant but not exceptional. “Friend” is this album’s “Got A Hold On Me,” a Mac-ish piece of soft pop, empathetically delivered by McVie and her band, which includes her nephew, Dan Perfect, on guitars and backing vocals. Other standout tracks include “So Sincere” and “Easy Come, Easy Go” which has some of those funky clavinet sounds and backing vocals like “You Make Lovin’ Fun.” McVie’s best singing comes on “Liar.” Overall an engaging but less than scintillating excursion.

Incognito – Adventures in Black Sunshine (Narada Jazz)

Guitarist/composer Jean-Paul “Bluey” Maunick has built Incognito into a juggernaut of sorts. Over the group’s 11 albums, Maunick has developed a sound borrowing from ‘70s soul and ‘90s acid jazz, while introducing a bevy of talented singers and utilizing the cream of Britain’s jazz and funk musicians, such as Patrick Clahar, Bud Beadle, Richard Bailey and guests such as former Jam frontman Paul Weller. “Adventures” reunites Bluey with vocalist Maysa Leak, who sings most of the leads. Whoever is singing, Incognito delivers the goods. The punchy horns, synths, and electric piano leads galvanize the songs while Maunick stays mostly in the background. Even on the instrumentals he lets others get the bulk of the solo space, as on “The 25th Chapter,” which features Andy Ross on flute and Nichol Thompson on trombone.

Aria 3 – Metamorphasis (Koch Records)

Producer/pianist Paul Schwartz continues to concoct ambient masterpieces from classical and sacred song. Here he reaches into operatic arias and reimagines them with ambient and electronic treatments with vocal interludes. Whether it works or not certainly depends on your perspective. Classical purists will probably run screaming from the room, while those whose ears are tuned strictly to pop will also be left wanting. Like his previous Aria efforts, or his combinations of sacred and electronic on the State of Grace projects for Windham Hill, Schwartz finds his audience in those looking for new expression and combination of beats, electronics, and classical or sacred works. An arranger rather than composer, Schwartz pushes the envelope with sometimes heady results.

Wallace Roney - Prototype (High Note)

Wallace Roney is one of the most consistently inventive trumpeters currently working on the jazz scene. As it harkens back to such ground-breaking albums as “Bitches Brew” and Herbie Hancock’s “Crossings,” “Prototype” is not music for the faint-hearted. Like his mentor, Miles Davis, Roney is totally unafraid, and the fearlessness shows in his innovative combinations of textures over which he and his fellow horn players assemble their sounds. On the opening “Cyberspace,” for example, he brings in DJ Logic on turntables, while the following “Shadow Dance” includes bass clarinet and trombone. Both are wistful, exploratory songs, which rely on the leader’s trumpet lines to tie together the electronic soundscapes and the more typical jazz rhythms. And Roney’s arrangement of Al Green’s “Let’s Stay Together” is a tour-de-force.
 
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