CALEA Accreditation signifies more than just an award; it underscores our firm dedication to professionalism, excellence, and competence. It stands as a point of pride for our community and police department alike, demonstrating our commitment to upholding the highest standards in law enforcement.
Pursuit of professional excellence
Anyone wishing to provide comments regarding our agency’s compliance with CALEA standards, engagement in the service community, delivery of public safety services, and overall candidacy for accredited status may provide comments to CALEA through the following Public Comment Portal.
(Courtesy, pxhere.com)
Comments can be in the form of commendations or concerns. The overall intent of the accreditation process is to provide our agency with information to support continuous improvement, as well as foster the pursuit of professional excellence.
Submission details
All comments made through the portal will be sent directly to CALEA; submitters will only receive acknowledgment of their submission.
Anyone wishing to leave comments and have them sent directly to Wyoming Police should use the non-emergency number 616-530-7300, appear in person at the police department, or use the online Police Department Contact Form.
Six random strangers are stuck in a room until they figure out how to come to a consensus. In today’s polarized world, one wonders how that is even possible. Yet, if a system based on law is to function properly, then much depends upon agreeing to follow it. And democracy – where all citizens are considered equal under the law – needs a system based on law to exist. But when it comes right down to it – the system and the law – well, those are two distinct things to consider.
This is the dilemma that Petty Crimes, written by local playwright Kristin Andrea Hanratty, explores in its 90-minute world premiere production this week at Actors’ Theatre.
Veteran actor Greg Rogers is Clayton, the older white male stepping sincerely and assuringly into the role of jury foreman. (Courtesy, Actors’ Theatre)
The crime itself is minor, a simple misdemeanor requiring only six jurists; it should be a quick deliberation and then everyone gets back to their own lives. But the characters and the context complicate things.
The play takes place in one setting, a cramped room that serves as an alternate deliberation space due to a much bigger trial happening at the same time. The other trial has overtaken the regular facilities as well as the public imagination, and with it a disruptive media frenzy. This displacement reveals but one layer of context that counteracts the idea of equal justice. The jurors are uncomfortably (even if for some, just physically) aware of what garners attention in society, and what is overlooked, as their deliberations proceed.
While instructed to dutifully fulfill their part of the legal process and follow the narrow parameters of the law, real life and lived experiences creep in through the cracks of their contained environment (as do the flies). Much like the mismatched chairs in the room that each negotiate for their own, perspectives and privilege sorts itself out.
The cast nimbly understands the broader representation each role brings to the table, including veteran actor Greg Rogers as Clayton, the older white male stepping sincerely and assumingly into the role of jury foreman; Bryanna Lee as Becca, the enthusiastic young legal student fascinated and distracted by the process; and Ruth Ann Molenaar as Eileen, a mature Black woman whose agency resides in keenly knowing how to read a room filled with all the others.
Ruth Ann Molenaar is Eileen, a mature Black woman whose agency resides in keenly knowing how to read a room filled with all the others. (Courtesy, Actors’ Theatre)
Interesting how a single, comfortable new office chair can say so much about dominant ideology, its hegemonic gestures of equality, and its actual heir apparent in this system we uphold, for better or worse.
This production is a respectable debut of an original work, and it is a play that deserves to live on in future interpretations by theatres across the country. Kudos to Actors’ Theatre in Grand Rapids for recognizing this and initiating the launch.
I’ve been writing about movies that got me through my high school experience for five weeks. Every movie I’ve delved into can be found on my personal favorite movies list, but Steven Spielberg’s “Jaws” is special because it just so happens to be at the very top. Are you wondering why that is? If you are, just keep reading and you’ll find out soon enough.
My first experience with this movie is one I will never forget. I was 10-years-old and had suddenly decided that I had to see that old shark movie that I’d heard so much about during my family’s trips to Ocean Isle Beach. Just a few short months ago I would’ve been too afraid of the poster to even go near the film, but now I’d reached that age in life where the things that scared me were becoming more intriguing than they were deterring. The movie dated PG rating (the MPAA had only G, PG, and R ratings for films then) convinced my father that I would be fine seeing the movie as long as he sat down and watched it with me. My father was and always has been a busy man. He would often get home from work too late for him and my 10-year-old self to do anything together; so, the fact that he was going to take some time away from his computer screen to experience this old summer blockbuster with me, transformed this first viewing of a classic into what my young mind perceived as an event. We rented the movie on demand for $4.99, dimmed the lights, and I braced myself for the thrill ride that I knew I was in for. The next two hours that followed changed my life.
Before I saw “Jaws” I had never seen a movie in which I felt the director’s presence. I knew what a director was (at least vaguely) but I didn’t think of them as the author of the movie they made. The notion that a director would utilize certain shots and framing methods – much like how a novelist utilizes certain words and sentence structures – in order to evoke a specific emotional reaction from the audience hadn’t occurred to me. But when the film reached its end and I saw the words, Directed By Stephen Spielberg, a switch was flipped and the lightbulb above my head lit up. That bulb has been burning brightly ever since.
An estimated 67 million people saw “Jaws” upon its release. It took the film 38 days to reach pass the $100 million mark.
The greatest thing about “Jaws”is that the story is so simple and straightforward that you can apply any meaning or metaphor that comes to your mind. For my own amusement, I tend to use this movie as a metaphor for Covid 19. I know that sounds ridiculous, but hear me out. A man-eating shark moves into the shores of Amity Island and begins terrorizing the locals. The police chief implores everyone to stay out of the water, and us rational audience members naturally accept that that’s the obvious precaution to take; but, inevitably some citizens – including the mayor, and other individuals in power – just have to make life a little more complicated (and in this case blood-filled) for everyone. That is so similar to what we experienced when the Corona Virus entered the USA that it’s not even funny. First, everyone in the nation panicked and stocked up on toilet paper because the end times were upon us; then, mandates meant to keep people safe were passed, and what seemed to be the most obvious precaution for people to take turned into a political debate that divided the nation. The parallels are even more uncanny when you watch the movie with people who’ve never even seen it pre-pandemic. A friend of mine with whom I was showing the movie actually said out loud, “This is literally Covid.”
Regardless of whatever different metaphors and meanings you manifest in your head for “Jaws,” I think we can all agree that it’s a wildly entertaining movie. In my case, it is responsible for a lot of unfinished homework, and not one fiber of my being has any regret over that.
Cinema is my number one source of therapy. For me, there is not a single negative emotion that a good movie can’t remedy for at least two wonderful hours. High School had its high moments, but there were many days when I walked out of that building feeling completely defeated, like everything inside of me had been drained out, and I was just an empty vessel going through the motions. The movies I listed have only one through-line that connects them, they filled me back up and eliminated that empty feeling. I hope that there is at least one movie out there that does the same for you, and if there isn’t then maybe going through this short list will help you find it.
Music festivals are returning in force this summer but if you want to get in on “the rising indie class” you might want to schedule a road trip to Chicago’s Union Park in mid-July.
Pitchfork Music Festival will return Friday, July 15, through Sunday, July 17, with a line-up of the familiar — including headliners The National, Mitski, and The Roots — but also the “what’s next” in indie and alt and about half a dozen other genres undefinable.
“This year’s lineup is a celebration of the rising indie class, and those who continue to pave the way for innovation,” Puja Patel, editor in chief of Pitchfork, said in supplied material. “Our goal was to highlight a diverse group of artists who are taking their musical genres to new heights.”
Day 1
The Festival kicks off on Friday with The National, who played Pitchfork Music Festival’s first year in 2006,, as well as Spiritualized, Parquet Courts, Tierra Whack, Amber Mark, Dawn Richard, Tkay Maidza, Indigo De Souza, SPIRIT OF THE BEEHIVE, SPELLLING, Camp Cope, Wiki, Ethel Cain, and CupcakKe.
The National will be the “name” on that day/night/the weekend — the show marks a return to touring for the band in fact: “The last couple years have given us ample time for reflection and rejuvenation. Summer 2022 is a time for reunion. We look forward to gathering with friends, old and new. United in music and light, suspended in time,” the band states on their website.
But maybe the best of the early Friday acts will be the outstanding Parquet Courts — their late 2021 release Sympathy for Life was outstanding. And for the “I saw her when …” crowd, CupcakKe should be tasty.
Day 2
On Saturday, headliner Mitski will be joined by Japanese Breakfast, Lucy Dacus, Low, Magdalena Bay, Dry Cleaning, Karate, Iceage, yeule, Arooj Aftab, The Armed, Chubby & the Gang, Hyd, and Jeff Parker & the New Breed.
You can’t turn on a radio (over-the-air or celestial) these days without catching Mitski’s catchy 1980s-retro bad-girl hit “The Only Heartbreaker” off her 2022 release Laurel Hell. But Japanese Breakfast is sure to be tasty too.
Day 3
The festival closes Sunday with The Roots, Toro y Moi, Earl Sweatshirt, Noname, BADBADNOTGOOD, Cate Le Bon, Tirzah, Xenia Rubinos, Erika de Casier, Injury Reserve, KAINA, L’Rain, Sofia Kourtesis, and Pink Siifu.
Hey, I have grey hair … You had me at Roots …
Details, details …
Pitchfork Music Festival tickets are available, with three-day passes, single-day passes — and “The Pitchfork PLUS” For tickets and more information visit here.
The Pitchfork Music Festival showcases the best up-and-coming music from around the world, as well as “special performances from touring stalwarts and legends alike,” according to festival promotional material. It also features diverse vendors, including specialty record and craft fairs, and it works to support local businesses while promoting the Chicago arts and food communities as a whole.
The Pitchfork Music Festival will adhere to the city of Chicago’s current-at-the-time COVID-19 protocol, according to supplied material, and will remain in close contact with city and state officials as regulations evolve. Festival attendees will be updated on COVID-19 protocol via email, and can find the latest safety guidelines on Pitchfork Music Festival’s FAQ page, and by following @PitchforkFest on Instagram and Twitter.
Pitchfork is one of the most read voices in music, and is often considered the preeminent resource for fans looking to discover and experience new music through reviews and features of the people, trends, and events shaping the music industry. Pitchfork hosts annual Music Festivals in Chicago and Paris. For more go to Pitchfork.com and follow @pitchfork.
Getting back to a large degree of summertime normalcy in West Michigan, Frederik Meijer Gardens & Sculpture Park’s Fifth Third Bank Summer Concerts will have a June-thorough-September series of 33 shows that will bring “an eclectic group of artists” to the amphitheater — maybe the region’s premier open-air venue and still at an intimate 1,900 seat capacity despite the massive renovations at the park.
The concert line-up will feature some familiar local faces and sounds —Elvis’s glasses and ZZ’s beards, Lyle’s country twang and Spearhead’s reggae rock, to name drop just a few — but also some fresh faces and, maybe, new sounds.
Andrew Bird and Sam Beam of Iron & Wine. (Supplied)
Amos Lee (he of “Worry No More”, the mantra-like lead single from his outstanding new Dreamland release) may be unfamiliar to many but not to those with an ear to where alt/pop music is headed next. And while Andrew Bird and his space fiddle are no strangers to Meijer Gardens, his concert with Iron & Wine will undoubtedly be as unique and memorable as was his 2019 visit before … well, you know.
And, oh ya, an acoustic evening with Trey Anastasio, the heart and soul and jamming master of Phish, will be nearest you’ll likely come to a tie-died Woodstock evening this summer. Breathe it in …
Tickets go on sale April 23 for members and May 7 to the general public (details to follow), and many concerts sell out quickly.
Decemberists. (Supplied)
And speaking of getting those sometimes hard-to-come-by tickets, in their concert season announcement, Meijer Gardens introduced its new Concerts for the Community initiative, sponsored by The Steve & Amy Van Andel Foundation in partnership with the Kent District Library. The program will provide concert tickets, food and transportation to “guests that may not otherwise have the opportunity” to attend a summer concert.
Concerts for the Community is designed exclusively for those “facing economic hardship and is meant to diversify community exposure to world-class live music,” according to the announcement.
“Concerts at Frederik Meijer Gardens & Sculpture Park are a favorite summer activity for our family,” said Amy Van Andel. “We are … excited to help others make memories and experience the joy an evening of outdoor live music can bring.”
2022 Fifth Third Bank Summer Concerts at Meijer Gardens lineup
Drumroll please …
Amos Lee (Supplied)
The concert series kicks off in June with Marc Cohn + Blind Boys of Alabama on June 12, followed by the aforementioned Amos Lee with Neal Francis on June 17, a doubleheader sure to have you up and dancing with Fitz & The Tantrums + St. Paul & The Broken Bones on June 19, An Acoustic Evening with Trey Anastasio on June 20, and Old Crow Medicine Show on June 23.
Then — get ready for this —Trombone Shorty’s Voodoo Threauxdown featuring Tank and The Bangas, Big Freedia, Cyril Neville: The Uptown Ruler, George Porter Jr. and Dumpstaphunk performing the music of The Meters and The Soul Rebels, all on June 24. Oh what title; oh what a night!
Closing out June will be The Temptations with Kimmie Horne on June 26, and Bluegrass Happening featuring Bela Fleck & My Bluegrass Heart, Sam Bush & The Jerry Douglas Band on June 27.
ZZ Top. (Supplied)
The summer concert season really gets hot in July with Sheryl Crow with Allison Russell on July 3, Corinne Bailey Rae with War & Treaty on July 6, ZZ Top on July 7, O.A.R. on July 8, and the first of several concerts featuring the Grand Rapids Symphony, Five for Fighting with the symphony on July 13.
Annual visits by two always welcome summer music makers are next: Michael Franti & Spearhead with The New Respects on July 14, and Lyle Lovett and his Large Band on July 15, followed by Norah Jones on July 17, Rick Springfield with the Grand Rapids Symphony on July 20, Buddy Guy + John Hiatt on July 21, America on July 27, and Arturo Sandoval with the Grand Rapids Symphony on July 28.
Elvis Costello. (Supplied)
Elvis will be in the building to start August as Mr. Costello & The Imposters with Nicole Atkins will visit on Aug. 4, followed by Andrew Bird + Iron & Wine with Meshell Ndegeocello on Aug.5, The Dead South with Tejon Street Corner Thieves on Aug. 10, Lake Street Dive with Madison Cunningham on Aug. 12, with the The Beach Boys making it a beach party night on Aug. 15.
August closes out with The Decemberists — one of my favorite bands — Aug. 17, Boz Scaggs with the Robert Cray Band on Aug. 22, and Umphrey’s McGee on Aug. 24.
The concert season will close strong in the fall with Emmylou Harris + Mary Chapin Carpenter on Sept. 1, Australian Pink Floyd — which is about the closest you can get to the Dark Side of the Moon these days — on Sept. 12, Goo Goo Dolls with Blue October, on Sept. 15, She & Him on Sept. 16, and (what a way to close the venue for the season) Foreigner: The Greatest Hits Tour on Sept. 18.
Trey Anastasio, in concert at Carnegie Hall in 2021. (Supplied/Rene Huemer)
The details, please
Gate and show start times vary. All information is subject to change. All shows will take place rain or shine, and weather delays are possible. Check MeijerGardens.org/concerts for more details.
There are a lot of details to getting tickets, so much so that Meijer Gardens has created an Insider’s Guide to Buying Tickets, available at MeijerGardens.org/concerts.
The bottom line is that Meijer Gardens members have a members-only presale beginning 9 a.m., April 23, through midnight, May 6. Sales to the public begin at 9 a.m., May 7. Ordering is online at Etix.com (preferred method) or by phone at 800-514-etix (3849), both with per-order handling fee.
Hint: Get a membership, for early tickets and free entry to the grounds any time. To join or renew a Meijer Gardens membership before April 23, visit MeijerGardens.org/membership or call the Membership Department at 616-977-7689.
In honor of Dr. Seuss’ birthday, March has been designated as Reading Month. To celebrate and encourage reading, we are asking local officials, residents and WKTV staff and volunteers to tell us about a book that they enjoy. Happy Reading!
Today’s book selection is from TJ Norris. Norris is a financial controller for an international manufacturing company. She is also a serial volunteer for non-profit boards and organizations and loves seeing teams work together to accomplish amazing goals.
Book: Leaders Eat Last Author: Simon Sinek Genre: Business/self-help
In this era of “The Great Resignation,” retaining employees can make or break a company. Sinek’s book, though originally written in 2014, is as timely today as it was then. Filled with wonderful examples of what has worked for various companies, it’s not only a book about keeping your best employees, but it is also about keeping them happy, motivated and loyal. But read a little deeper. Substitute “company” for family, church group, or civic organization, and let the “aha! moments” kick in. This book is consistently on lists of the 10 best business books and, as the author himself states, “Leaps of greatness require the combined problem-solving ability of people who trust each other.”
Take the leap into making your team better, stronger, happier.
One of Christian McBride’s many musical “hats”, rejoining “A Moodswing Reunion” for a new release and a 2022 tour with, from left, drummer Brian Blade, McBride, saxophonist Joshua Redman, and pianist Brad Mehldau. (Nonsuch Records)
It is no secret that bassist Christian McBride wears many hats — a good number of photographs have him wearing one. But the “many hats” metaphor applies not only to his headgear but where his head is at, musically.
Over his legendary and GRAMMY filled career, dating back now more than 30 years, McBride has slid his stand-up bass in alongside artists ranging from Chaka Khan to Shanghai Quartet; he has effortlessly excelled in jazz, pop, rock and classical, all with little or no real meaning to labels or genres; and he and his bass, it seems — to morph an old phrase — can lead, follow, but never get out of the way.
Christian McBride, from a 2008 concert, is no stranger to St. Cecilia Music Center. (St. Cecilia Music Center)
McBride’s many music hats, and many musical friends, will be on full display at St. Cecilia Music Center’s three-day WinterFest “jazz festival” Thursday through Saturday, Feb. 24-26.
First, Christian McBride & Friends will offer up a unique pairing with fellow bassist Edgar Meyer for a “double bass extravaganza”, then The Christian McBride Trio takes the stage with special guest jazz singer Cyrille Aimée, and on the final evening, McBride and his award-winning quintet, Inside Straight, will hit the stage.
Tickets for the series, and individual shows, are still available — $123 for the full series, $40 to $55 per single concert — and tickets can be purchased online at scmc-online.org or by calling St. Cecilia Music Center at 616-459-2224.
Man with many hats
McBride moved to New York in 1989 to pursue classical studies at the Juilliard School, but he was quickly recruited to hit the road with jazz saxophonist (and composer, arranger and educator) Bobby Watson. From there he gained masterclass after masterclass from the who’s who of music until he, himself, became the master.
Christian McBride. (Artist’s Facebook Page)
He leads his own bands, starting in 2000 with the formation of what would become his longest-running project, the genre-bending Christian McBride Band, to the 2009 formation of his more “straight-ahead” Inside Straight quintet, to the later Christian McBride Big Band, whose 2012 release The Good Feeling won the GRAMMY for Best Large Ensemble Jazz Album.
He joins other groups, jazz and otherwise, all-star and Young Lion-filled, including the modern who’s who of straight ahead jazz in the legendary 1994 “MoodSwing” quartet of saxophonist Joshua Redman, McBride, pianist Brad Mehldau and drummer Brian Blade — a group that will hit the road again in “A Moodswing Reunion” this spring including a stop in Ann Arbor in April.
Along the way, McBride was named the artistic director of the Newport Jazz Festival, arguably one of the top three jazz festivals in the world; he hosts and produces “The Lowdown: Conversations With Christian” on SiriusXM satellite radio and National Public Radio’s “Jazz Night in America”; and, with his wife, vocalist Melissa Walker, he formed Jazz House Kids, the nationally recognized community arts organization dedicated to educating children through jazz, but developing musical potential, leadership skills, and academic performance.
Oh, ya. And he has made a lot of musical friends.
Three nights; three vibes
McBride’s opening-night friend, GRAMMY winning bassist Edgar Meyer, is both a unique performer and an accomplished composer, and as The New Yorker says, he “is the most remarkable virtuoso in the relatively un-chronicled history of his instrument.”
Edgar Meyer. (Supplied photo by Jim McGuire)
His musical uniqueness was on full display in 2011 when Meyer joined cellist Yo-Yo Ma, mandolinist Chris Thile, and fiddler Stuart Duncan for the recording The Goat Rodeo Sessions which was awarded the 2012 GRAMMY Award for Best Folk Album.
As a composer, his uniqueness was also on full display as he has collaborated with Béla Fleck and Zakir Hussain to write a triple concerto for double bass, banjo, and tabla, which was commissioned for the opening of the Schermerhorn Symphony Center in Nashville.
The pairing of McBride and Meyer will also, to say the least, be unique.
Cyrille Aimée. (Supplied)
The next night, McBride’s trio will team with vocalist Cyrille Aimée, who, the story goes, grew up singing at gypsy camps in her native France and on street corners around Europe, graduated to facing audiences at the world’s most prestigious jazz festivals, not the least of which was the Montreux Jazz Festival.
But her singing is only part of her story. As an actress, Aimée co-starred with Bernadette Peters in a Stephen Sondheim tribute at New York’s City Center, which inspired her to dig deeper into Sondheim’s repertoire, resulting in her fourth and most recent album, “Move On: A Sondheim Adventure.”
And then, on the final night of the WinterFest, McBride will be on stage with his Inside Straight cohorts — drummer Carl Allen, saxophonist Steve Wilson, pianist Peter Martin (who replaced the band’s original pianist Eric Reed) and now joined by young vibraphonist Warren Wolf.
Inside Straight’s “Christian McBride & Inside Straight Live at the Village Vanguard” is his quintet’s newest recording and, to some, can be thought of as a companion to the GRAMMY Award-winning Christian McBride Trio Live at the Village Vanguard album released in 2015.
And the rules at St. Cecilia
St. Cecilia currently requires proof of fully vaccinated status, or a negative COVID test taken within 72 hours, to attend a concert at the SCMC venue. Attendees need to bring photo ID and proof of vaccination, or a negative test, the night of a concert. Note: Home tests are not accepted.
All patrons are required to wear a mask for the full duration of their time in the building.
If you have tickets to an upcoming performance and are unwilling or unable to abide by this policy, please contact the SCMC box office for a refund at kelly@scmc-online.org a minimum of 48 hours prior to the concert date.
May Erlewine will be bringing her songs, new and old, and a few stories of her songs and songwriting, to St. Cecilia Music Center Feb. 17. (Supplied)
By D.A. Reed, WKTV Contributing Writer
May Erlewine — singer-songwriter, West Michigan native, and no stranger to Grand Rapids audiences and soundtracks — plans a creative twist for her Feb. 17 concert at St. Cecilia Music Center, when she will debut her new release, “Tiny Beautiful Things”.
And music will be only part of it.
“(Tiny Beautiful Things) is about exchange and all these different faces of love,” Erlewine told WKTV. “The record has songs about falling in love, songs about falling out of love, songs about loving your children, songs about loving those who have passed on, all of the many incarnations love finds in our lives. The sentiment is that love is always there.
“One of the ways I wanted to present this was by reading some letters throughout the concert and share these different incarnations of love and connection.”
Tickets for May Erlewine’s Feb. 17 Folk Series concert can be purchased online at scmc-online.org or by calling St. Cecilia Music Center at 616-459-2224.
“We are excited to bring May Erlewine back to SCMC,” Cathy Holbrook, St. Cecilia Music Center executive/artistic Director, said in supplied material. “She appeared here many years ago when we first started our folk series. It’s exciting that May can highlight her new album with this show and that audience members will have the chance to purchase the new album that night.”
The artist’s music and life
Not only will the St. Cecilia audience be treated to new songs and the opportunity to purchase Erlewine’s new album, they will also be treated to a more personal aspect of the songwriter’s life.
Erlewine is a strong believer that sharing our connections with others throughout life can do much to enrich our lives. An avid letter writer, Erlewine plans to share snippets of her own correspondence with loved ones over the years to highlight this belief.
May Erlewine. (Supplied)
“Part of the reason I wanted to do this was to remind people how important it is for us to stay connected in a time where most of us are unable to be close to our loved ones,” Erlewine said. “We have all been through a lot of changes and had to sacrifice a lot through this difficult time. We are still very connected in community even though we haven’t been able to actively feel that connection.”
Erlewine urges people to reach out to their loved ones in both little and big ways.
Connection has always been a vital and powerful aspect of Erlewine’s life, even prompting a cross-country journey at age 16.
“I was really curious about seeing the country, seeing how different people lived,” she said. “And I think one of the main reasons I wanted to do that is that I love to hear people’s stories. Songs are basically stories, so I found a great way to share the ones I’ve collected.”
Collecting and listening to stories of people’s lives has always fascinated the songwriter and has been a catalyst for several of her songs.
“We are all living a similar human experience, but we all have these incredible unique things that have happened to us in our lives,” Erlewine said. “There is a lot of meaning and depth in sharing those things.”
Connecting to music young
Erlewine said she felt the power of music at the young age of 12, when she picked up a guitar for the first time.
“I was immediately inspired to write a song. When I did that, I had this ‘aha’ moment of ‘This is something I’m supposed to do. This is my way of expressing myself in the world.’ I just didn’t stop from that point on.”
May Erlewine (Supplied/Michael Poehlman)
Over the years, Erlewine has used her music as a platform for positive change, whether it be individual or as a community, environmental, or even regarding social justice. Her catalog of albums and collaborations gives voice to these themes. (Checkout a 2019 WKTV feature on her “Second Sight” release, and its social/political themes.)
“I had a revelation that music is part of a very long-standing tradition, much larger than just me and what I am feeling,” said Erlewine. “It encompassed something much bigger. I wanted to serve that.”
The passion listeners hear in Erlewine’s voice and songs comes from a deep-seated belief in the power of music to connect people no matter where they come from or what their beliefs are.
“Music has a lot of power in community to bring people together, to speak about issues that are happening around us. That folk tradition of being a voice for the people is something I really believe in and have embraced in my path of music.”
When asked about the fearlessness demonstrated in using her music to speak on social and political issues, Erlewine likened it more to strength.
“It’s always scary to be vulnerable,” Erlewine said. “It takes a lot of strength to go there.”
What helps Erlewine is focusing on what she feels is the “most honest thing to do.”
“I have a strong sense that if something feels like the right thing to do,” the songwriter said, “even if it’s scary or even if it puts me in harm’s way, if it’s the right thing to do…then I know that it is part of my path, and I trust that.”
Erlewine’s daughter also plays a large part in giving the songwriter the courage and strength to do what she feels is right.
“When I think about my daughter and her living in this world after I’m gone, I ask, what things can I do that will impact her future in a way that matters to me? That has definitely added some fuel to those moments where I might feel more shaky. This is not just for me, this is for future generations.”
When saxophone man Joshua Redman first burst onto the jazz scene in the 1990s he was labeled as one of the “Young Lions” of the ’80/90s straight-ahead jazz scene — with the likes of Roy Hargrove, Wynton Marsalis and Nicholas Payton.
But even back then he was fully able to excel in jazz’s traditional past as he was to blaze new trails in modern (new/neo, experimental, whatever) jazz sounds — I first heard him back in 1990-something, at Oregon’s Reed College, and there he played two sets, one for the older traditional crowd and one for the younger, more adventuresome crowd I was part of.
Three decades on, and on-stage around the world, Redman may not be “young” anymore (he’ll be 53 in February) but he and his sax can still whisper an Ellington tune and roar a totally “twisted” take on a Sonny Rollins jazz waltz, as evidenced by his stop at St. Cecilia Music Center, on Jan. 20, as the the music center’s 2022 jazz series debuted.
On that night, the Royce Auditorium crowd roared back in approval when Redman and his trio mates — Marcus Gilmore on drums and Matt Penman on bass — flowed from one jazz focal point to another. (I think there were some who wished the stayed traditional, but not I or my wife.)
In the 90+ minute set, Redman and the boys opened with Oscar Petterson’s “Tricotism” and a totally “twisted” — his word — version of Bruce Bowman’s “East of the Sun” that only the very knowledgable ear could discern.
From there Redman showed his composing chops along with his playing chops, with his “Back from Burma/Blues for Myanmar”, “Second Date” and a double-dip of “Interval Training” and “Blues for Down the Line” — the latter being about as straight ahead as you get.
A sweet take on Duke Ellington’s “Prelude to a Kiss” followed, along with a twisted reimagining of Sonny Rollins almost “jazz waltz” — again, his words — “Valse Hot”, which Redman called “Valse Hotter”, followed by a totally unrecognizable reworking of a classic piece he simply called “opus something”.
For the encore, Redman returned to his charts and the familiar with “Pimples and Dimples.”
The tune-swings of Redman and his bandmates might have been personal whim, or simply their stretching their varied musical muscles in what Redman admitted was just his sixth live gig in 23 months. (Which was probably about the same timespan that many in the audience last heard jazz at St. Cecilia.)
But whether straight ahead or neo/new, Redman and the boys were welcome sounds.
And that is just the beginning …
The venue, and the local jazz audience, will get another feast of music on stage in February as St. Cecilia will also debut Winterfest, a three-day winter jazz festival featuring host Christian McBride “and Friends” Feb. 24-26.
(The SCMC jazz series will also include Dee Dee Bridgewater and Bill Charlap on March 10, and Delfeayo Marsalis and the Uptown Jazz Orchestra on April 14.)
Some might argue that bassist extraordinaire McBride was also one of the “Young Lions” of the ‘90s, as his genre wide-ranging musical career is firmly grounded in the jazz — he was named as the artistic director of the Mecca of jazz, the Newport Jazz Festival. (Where I first saw him play, in the early 2000s. Ya. I’m venue droppin’ …)
And Redman and McBride are no strangers to the same stage as well, as the two teamed with pianist Brad Mehldau and drummer Brian Blade on the original Joshua Redman Quartet (a group that reunited to release the Grammy-nominated album “RoundAgain” in 2020, and will be touring together later this year).
For complete information on all shows at St. Cecilia, visit scmc-online.org.
Joshua Redman has a long list of impressive credentials on his musician resume, including being nominated for eight GRAMMY awards. But before that he had an equally impressive educational resume, including being a 1991 graduate from Harvard College after which he was accepted to Yale Law School.
But anybody who has seen him on stage, blowing his saxophone and conversing with the crowd, over the years of his now 30+ year career of playing, recording and writing music, knows he is a jazz man thorough and through.
If you already know, or are yet to find out, local jazz fans will undoubtedly get proof positive Jan. 22 on St. Cecilia ’s Royce Auditorium Stage when Redman and his trio lead off St. Cecilia Music Center’s Jazz Series as the first of three concerts in January, March and April.
And, least we forget, St. Cecilia will also debut Winterfest, a three-day winter jazz festival featuring host Christian McBride “and Friends” Feb. 24-26.
Joshua Redman Quartet (Supplied)
“We are so excited to launch four months of great jazz performances this year beginning with Joshua Redman,” Cathy Holbrook, St. Cecilia executive and artistic director, said in supplied material. “Joshua is one of the most talented and sought-after jazz performers around. Along with a prolific body of celebrated recordings over 25 years, Redman has worked with countless jazz contemporaries as a follow performer and bandleader.”
With the concert set to start at 7:30 p.m., tickets for Redman and his band can be purchased online at scmc-online.org or by calling St. Cecilia Music Center (SCMC) at 616-459-2224.
In addition to Redman, the SCMC Jazz Series includes Dee Dee Bridgewater and Bill Charlap on March 10, and Delfeayo Marsalis and the Uptown Jazz Orchestra on April 14. The first-ever WinterFest jazz program – three consecutive nights of jazz — will be hosted by GRAMMY-winning jazz bassist Christian McBride and feature the Christian McBride Trio, singer Cyrille Aimee, fellow bassist Edgar Meyer, and McBride’s legendary quintet Inside Straight.
Redman and his musical journey
Jazz fans can be a little prickly when it comes to their definition of the musical genre, but a supplied quote from JamBase does have a point when they say “When the conversation ensues about who is carrying on the great tradition of jazz musicianship today … if Joshua Redman’s name does not come up, the conversation is not worth having.”
The innovative saxophonist has made believers of critics and fans alike with his live performances and acclaimed recordings. One of his many-faceted musical ventures, The Joshua Redman Quartet, released an album titled “Come What May” in 2019. But his list of jazz collaborations over the years include ones ranging from McCoy Tyner to Brad Mehldau.
Joshua Redman, from a 2019 concert. (Supplied/Lisa Siciliano)
And the members for the original Joshua Redman Quartet are like a who’s who of the genre — Redman saxophone), Brad Mehldau on piano), Christian McBride on bass, and Brian Blade on drums —a group reunited to release the Grammy-nominated album “RoundAgain” in July 2020.
The son of legendary saxophonist Dewey Redman and dancer Renee Shedroff. Joshua Redman was exposed at an early age by his parents to many genres of music — the story goes — jazz, classical, rock, soul, Indian, Indonesian, Middle Eastern, and African. He was also introduced to a variety of instruments: recorder, piano, guitar, gatham and gamelan. (I had to look those last two up too … they are south Indian and Indonesian percussion instruments.)
After starting off playing clarinet at nine years old, Redman switched to what is his primary instrument, the tenor saxophone. So, of course, his stated early influences were John Coltrane, Ornette Coleman, Cannonball Adderley and his father. But, the story goes, academics were always his priority and he never seriously considered becoming a professional musician until he graduated from Harvard and followed some musician friends to New York City in the 1990s.
Things just sort of rolled on from there.
He began jamming and gigging regularly with some of the leading jazz musicians of his generation — Roy Hargrove, to name just one — and five months after moving to New York, Redman was named the winner of the prestigious Thelonious Monk International Saxophone Competition.
And things just sort of rolled on from there. Lucky us.
In addition to his own projects, Redman has recorded and performed with musicians as diverse as such as Chick Corea and The Dave Matthews Band, Quincy Jones and The Rolling Stones. And along the way he wrote and performed the music for Louis Malle’s final film “Vanya on 42nd Street “ and is both seen and heard in the Robert Altman film “Kansas City”.
SCMC special pandemic precautions
SCMC currently requires proof of fully vaccinated status, or a negative COVID test taken within 72 hours, to attend a concert at the SCMC venue. Attendees need to bring photo ID and proof of vaccination, or a negative test, the night of a concert. Home tests are not accepted. All patrons will be required to wear a mask while in the building for the duration of the concert.
All ticket holders will be notified if mandatory mask requirements are in effect for a particular show by an artist. If you a have tickets to an upcoming performance and are unwilling or unable to abide by this policy, please contact the SCMC box office for a refund at kelly@scmc-online.org a minimum of 48 hours prior to the concert date.
For complete information on all shows at St. Cecilia, visit scmc-online.org.
The family Watkins of Watkins Family Hour, brother and sister Sean and Sara Watkins, have performed separately and together for nearly their whole lives. Growing up near San Diego, they played countless shows at a local pizza place in Carlsbad, Calif., often with their childhood friend, Chris Thile.
What do they say? When it comes to music, it’s the company you keep. And if you know Thile, you know the quality folk company the Watkins siblings keep.
When Watkins Family Hour comes to St. Cecilia Music Center’s Royce Auditorium Stage on Dec. 16, folk/bluegrass music lovers will keep company with the pair — as they perform songs from their 2020 album “brother sister”, and other songs from their catalogue — as well as special guest artist Courtney Hartman.
Hartman, who will lead off the evening starting at 7 p.m., with the Watkins siblings taking the stage at 8 p.m.
Tickets for Watkins Family Hour with Courtney Hartman can be purchased online at scmc-online.org or by calling St. Cecilia Music Center at 616-459-2224.
Folk/bluegrass in their blood
Sean and Sara Watkins grew up playing music alongside Thile in the hugely successful folk and bluegrass band Nickel Creek, an acoustic ensemble that sold millions of albums, won a GRAMMY, and toured the world.
Encouraged by a local club owner in Los Angeles, Sean and Sara formed Watkins Family Hour in 2002 “as an outlet to try out some original songs and a few covers that wouldn’t work in Nickel Creek,” according to supplied material. That club, Largo, has since become the home base for Watkins Family Hour.
When not with Nickel Creek, Sean and Sara have released multiple solo albums and pursued other collaborations, most recently with Sara’s involvement in the group I’m With Her — a GRAMMY nominated female folk trio comprised of Watkins, Sarah Jarosz and Aoife O’Donovan.
Sara has also toured with the Decemberists. Sean has also performed in Fiction Family and the supergroup Works Progress Administration.
Returning to the studio as Watkins Family Hour, the pair released “brother sister”, self-described as “a duo-centric record (but) one that feels bigger than just two people.” With Sean primarily on guitar and Sara on fiddle, and with both sharing vocals, the pair enlisted producer Mike Viola (Jenny Lewis, Mandy Moore, J.S. Ondara) and mixer-engineer Clay Blair to “harness the energy and honesty of their live sound.”
“From the beginning, our goal was to work on these songs to be as strong as they could be, just the two of us,” Sara said in supplied material. “And with a few exceptions on the record, that’s really how things were. However, brother sister remains exactly that – the result of a brother and sister creating music.”
Watkins Family Hour’s “Brother Sister” Album Cover. (Supplied)
On the new release, their musical chemistry is clear on songs like “Lafayette,” an ode to Hollywood as well as the hometowns left behind by its aspiring stars, and “Fake Badge, Real Gun,” about confronting authority figures as well as your own beliefs, according to supplied material.
The pair’s choice of covers on “brother sister” also speak to the musical company their have kept and the music they respect: Warren Zevon’s poignant “Accidentally Like a Martyr” and “Keep It Clean,” the rabble-rousing Charley Jordan gem from the 1930s.
Hartman is a Colorado-born guitarist, singer, writer, and producer. In 2009, Courtney left home for Boston to study American Roots music at Berklee College of Music. She was soon on the road, touring full-time with the Boston-born band, Della Mae. This fall and winter she is touring with her new album, Glade.
St. Cecilia’s folk series lineup continues in New Year
Things really get cookin’ in the Acoustic Café in 2022, starting with local fave May Erlewine on Thursday, Feb. 17 — if you didn’t catch Erlewine’s late 2019 socially/politically charged release “Second Sight”, which was unjustly lost in the shuffle of the pandemic, you missed one of the best local releases in years.
Following Erlewine, Shawn Colvin will make a much-delayed return on Thursday, May 12; followed by the incomparable Judy Collins on Wednesday, May 18.
Tickets for all remaining concerts are available at scmc-online.org or by calling 616-459-2224.
Special note: as of this day/time, SCMC will require proof of fully vaccinated status, or a negative COVID test taken within 48 hours, to attend a concert at the SCMC venue. Attendees need to bring photo ID and proof of vaccination, or a negative test, the night of a concert.
Also, given the current pandemic status, SCMC also “highly recommends” that all attendees wear a mask while in the building.
All ticket holders will be notified if mandatory mask requirements are in effect for a particular show by an artist. If you a have tickets to an upcoming performance and are unwilling or unable to abide by this policy, please contact the SCMC box office for a refund at kelly@scmc-online.org a minimum of 48 hours prior to the concert date.
For complete information on all shows at St. Cecilia, visit scmc-online.org.
St. Cecilia Music Center will host award-winning musicians The Milk Carton Kids, with their “beautiful songs and entertaining stage banter,” on Thursday, Dec. 2 at 7:30 p.m., kicking off the duo’s concert Trans-Atlantic tour through 21 U.S. cities and 5 performances in Spain, Denmark, Sweden, Norway, and England.
Despite the scope of the tour, The Milk Carton Kids are no stranger to Grand Rapids.
“The Milk Carton Kids were a big hit at St. Cecilia Music Center during their first visit here in 2019,” Cathy Holbrook, St. Cecilia Music Center’s Executive & Artistic Director, said in supplied material. “Their loyal fans and people who love folk and Americana music will appreciate Joey Ryan and Kenneth Pattengale’s beautiful songs and entertaining stage banter.”
Tickets for The Milk Carton Kids are available at scmc-online.org or by calling 616-459-2224.
The duo’s newest release, The Only Ones, released in October 2019, takes The Milk Carton Kids back to their roots and the core of what they are musically, and features acoustic performances without a backup band.
“With ‘The Only Ones,’ The Milk Carton Kids go back to their roots: acoustic guitars and ethereal harmonies delivering lyrics that detail all the emotions love evokes,” Americana UK said about the album. “Musical duos will inevitably be compared to those that come before, and while The Milk Carton Kids conjure everyone from Simon and Garfunkel to the O’Kanes, ‘The Only Ones’ prove they can confidently hold their own, alongside their influences.”
This return back to their roots was prompted by several changes in the lives of Ryan and Pattengale. From professional to personal, these changes provided a break from years of non-stop touring that, Ryan says in supplied material, has yielded “space outside of the band that gives us perspective on what the band is.”
In the beginning, a perfect blend
When singers Ryan and Pattengale first connected, it was a pivotal moment for both of them.
Joey Ryan and Kenneth Pattengale, The Milk Carton Kids. (Courtesy of the band)
“For me, the striking thing about the first time we played together, even though it was just two acoustic guitars and two voices singing, was that it felt complete,” Ryan said in an interview with CBS This Morning, Saturday Sessions. Pattengale agreed: “Physically, the way that our voices blended in the air happened in a way where I had just never had that experience with another person.”
This powerful connection has led to three GRAMMY Award nominations for the duo: Best Folk Album in 2013 (The Ash & Clay), Best American Roots Performance in 2015 (The City of Our Lady), and Best Engineered Album, Non-Classical, in 2018 (All the Things That I Did and All the Things That I Didn’t Do).
A few past achievements (among many) since Ryan and Pattengale began touring and performing include: performing on National Public Radio’s Mountain Stage, Daytrotter; touring with Old Crow Medicine Show and The Lumineers; having three unreleased tracks featured in Gus Van Sant’s film “Promised Land”, starring Matt Damon and John Krasinski; several TV and Radio performances; praise from Rolling Stone for the duo’s album All the Things That I Did and All the Things That I Didn’t Do, with writer Luke Levenson noting the bandmates’ life changes as significant influences in its sound.
St. Cecilia’s pandemic policy
SCMC currently requires proof of fully vaccinated status, or a negative COVID test taken within 48 hours, to attend a concert at the SCMC venue. Attendees need to bring photo ID and proof of vaccination, or a negative test, the night of a concert. All audience members are required to wear a mask while in the building.
If you have tickets to an upcoming performance and are unwilling or unable to abide by this policy, please contact the SCMC box office for a refund at kelly@scmc-online.org a minimum of 48 hours prior to the concert date.
St. Cecilia Music Center’s Acoustic Café Series continues Nov. 19 with Leo Kottke, a legendary guitarist and always a Grand Rapids favorite for his music and his often humorous storytelling.
Kottke has been awarded two Grammy nominations, a Doctorate in Music Performance by the Peck School of Music at the U of Wisconsin, and — we are told — a “Certificate of Significant Achievement in Not Playing the Trombone from the U. of Texas at Brownsville with Texas Southmost College.”
Kottke, who has been described by Rolling Stone Magazine as “so good that he didn’t need a band” will entertain the West Michigan audience with his amazing six and twelve-string guitar picking genius. Kottke who has more than 42 years of touring under his belt, nearly 30 albums to his name and an astonishing array of material to choose from, will entertain the audience with his instrumental genius and engaging sense of humor.
Tickets for Leo Kottke are available at scmc-online.org or by calling 616-459-2224.
“Leo Kottke has a large fan base in West Michigan and it’s always a pleasure to bring him to St. Cecilia Music Center,” Cathy Holbrook, St. Cecilia executive &artistic director, said in supplied material. “Leo not only performs with genius guitar-picking precision on his 6-and-12-string guitars, he’s also a great storyteller recalling many humorous experiences.”
Remaining on the St. Cecilia folk music series are Milk Carton Kids on Dec. 2; Watkins Family Hour on Dec.16; May Erlewine on Feb. 17, 2022; Shawn Colvin on May 12; and Judy Collins on May 18.
Special pandemic policy
SCMC currently requires proof of fully vaccinated status, or a negative COVID test taken within 48 hours, to attend a concert at the SCMC venue. Attendees need to bring photo ID and proof of vaccination, or a negative test, the night of a concert.
In areas with substantial and high transmission, the CDC recommends that everyone (including fully vaccinated individuals) wear a mask in public indoor settings to help prevent the spread of COVID-19, especially the Delta variant, and to protect others. To that end, SCMC is requiring that all attendees wear a mask while in the building. They will continue to monitor the COVID environment and may change policies at any time if necessary.
If you have tickets to an upcoming performance and are unwilling or unable to abide by this policy, please contact the SCMC box office for a refund at kelly@scmc-online.org a minimum of 48 hours prior to the concert date.
For more information on all shows at St. Cecilia, visit SCMC-online.org.
Executive Chef Josef Huber at Gun Lake Casino shows off the popular burger, which comes with two 4.5-oz. patties. (Photo by John D. Gonzalez)
By John D. Gonzalez WKTV Contributing Writer
WAYLAND, MI – If you’re looking for more than 100 craft beers in one place, big TV screens for the big game and a tasty steak dinner, then you’ll be happy about three new restaurant and entertainment concepts at Gun Lake Casino.
Located right off Exit 61 on US 131, the casino’s growth and build out phase has been evident to passersby and patrons for months. Now it’s show time.
Reps of the Gun Lake Tribe’s Tribal Council and Gun Lake Casino executive team celebrated the opening of Phase IV of its expansion with a special ribbon cutting on Friday morning.
Even though today (Sept. 17) is the official grand opening, the crew has been testing systems and serving hungry customers for a couple weeks.
Everyone is loving it, said Gun Lake Casino executive Chef Josef Huber, who spent 23 years in the same role at Amway Grand Plaza in Grand Rapids.
“I guarantee you’re going to have a great time out here,” he said on Thursday. “You’re going to be surprised by the amenities we offer, the food we serve and the quality of drinks.”
The new offerings at the 229,000-square-foot facility, owned by the Match-E-Be-Nash-She-Wish Band of Potawatomi, include:
SHKODÉ Chophouse (ISH-KO-DAY), a flame-grilled steak and seafood restaurant open Thursday through Sunday, which offers a fresh take on American Cuisine and Artisan-crafted cocktails and curated wine list. Expect big flavors from a 32-oz. Tomahawk steak or 16-oz. New York Strip, said Chef Huber. Seafood lovers can delight in a platter for two, King Salmon and more. SHKODE is the Potawatomi word for fire and “honors Gun Lake Casino’s heritage through attention to flavor and quality with locally sourced and freshly harvested ingredients,” reps said.
CBK, a.k. “Craft, Bar, Kitchen” (Photo by John D. Gonzalez)
CBK, a.k.a. “Craft, Bar, Kitchen,” features more than 100 beers in bottles, cans and on draft. In addition, diners can check out the farm-to-table menu and shareables. Chef Huber said they serve breakfast, lunch and dinner with 45 items on the menu; open daily. Favorites already include the burger, fish tacos and Chinese chicken salad. And they have pastas and sandwiches, too. He also brought back the popular Philly cheesesteak egg roll with a spicy aioli sauce from the former Sand Hill Cafe. CBK also has a new outdoor fireplace.
131 Sportsbar & Lounge, which has been re-imagined from its previous incarnation, offers floor-to-ceiling LED video walls and 180-degree panoramic views. Chef Huber said the video walls feature more than 28 million pixels and 1,000 square feet of HD viewing surface. “If you’re a sports fan, and you want to watch sports, this is the place to do it,” he said. As for the menu, he said fans can expect “great bar food, burgers, pizzas, sandwiches, salads and apps, and wash it down with some beer.” It also has a huge stage. The plan is to feature live music, comedy and sports entertainment. Local band Wayland and national act Blue Oyster Cult perform this weekend. (Both concerts are sold out.) In addition, 131 Sportsbar & Lounge has an outdoor patio area.
Along with the excitement of the official opening, those visiting the casino this weekend will see a variety of evening entertainment throughout the venue, including aerialists, stilt walkers, magicians, living statues, mimes and a speed artist.
But Chef Huber encourages guests to come out any day of the week.
“You can come on a Monday evening, on a Tuesday morning, on a Saturday or whenever you have a day off,” he said.
Whether it’s the highly touted burger, egg roll, wings, pizza or steak, “you’re going to have a hard time” deciding what to have first, he added.
SHOKÉ is the Potawatomi word for fire and the SHOKÉ Chophouse honors Gun Lake Casino’s attention heritage with attention to detail and quality. (Photo by John D. Gonzalez)
In addition to the new dining and entertainment options, the casino features 2,500 state-of-the art slot machines, 47 table games, a modern sportsbook, and keno.
Other dining options include the Harvest Buffet, which features fresh ingredients and cooked to order items. Chef Huber also oversees the buffet, as well an employee-only cafe where he serves more than 500 people daily. Each employee gets a free meal on their shift, reps said.
For more information about the offerings at the Gun Lake Casino, visit www.gunlakecasino.com.
John D. Gonzalez is a digital journalist with 30-plus years of experience as a food, travel, craft beer and arts & entertainment reporter based in Grand Rapids, Michigan. He’s an early adopter of Social Media and SEO expert. Follow him on his journey to discover what’s next. You can find him on Twitter as @MichiganGonzo, on Instagram @MichiganGonzo and Facebook at @GRGonzo. He also relaunched his YouTube Channel. Email him story ideas and tips at michigangonzo@gmail.com.
The three-night WinterFest Jazz Festival will feature Christian McBride and plenty of his “friends”, including on Feb. 25 special guest jazz singer Cyrille Aimée will be featured. (Supplied)
“RoundAgain” is the title of a 2020 studio album by a quartet consisting of modern jazz powerhouses Joshua Redman on saxophone, Brad Mehldau on piano, Christian McBride on bass, and Brian Blade on drums.
The album was released without the usual touring support July 2020 after being recorded in New York City, in September 2019 — just before the music world’s abrupt touring shutdown as the COVID-19 pandemic hit us all.
St. Cecilia Music Center, as part of its 2021-22 concert season filled with “hope of bringing audiences back to Royce Auditorium” after its own shutdown, has its own plans to bring touring jazz “round again” — with Redman and McBride leading the effort as both are scheduled to make appearances in 2022, including McBride hosting the delayed WinterFest Music Festival in February.
“We are thrilled and thankful to begin again in 2021–22 with live concerts featuring most of the artists who were scheduled to appear this past season and had to be sidelined due to the COVID-19 pandemic,” Cathy Holbrook, St. Cecilia executive and artistic director said in supplied material at the time of the season announcement. “These great artists are looking forward to getting back out on tour to perform in front of live audiences and to bring music back to concert stages in the U.S. and worldwide.”
And local jazz fans can’t wait for their return as well.
Joshua Redman Quartet (Supplied)
St. Cecilia’s jazz offerings will include WinterFest, an event featuring 7-time Grammy-winning jazz bassist McBride “with some of his most talented musical collaborators” for a three-evening festival Feb. 24 -26.
The St. Cecilia Spectacular Jazz Series itself will include saxophonist Redman on Jan. 20, Grammy and Tony award-winning jazz singer Dee Dee Bridgewater together with pianist Bill Charlap on March 10, and acclaimed trombonist, composer and producer Delfeayo Marsalis with his Uptown Jazz Orchestra on April 14.
“It was important to us to bring the artists we had booked this past season for the upcoming 2021-22 season … Recreating that amazing line-up gives us hope for the future.” Holbrook said. “We are also thrilled to announce that our new WinterFest Jazz Festival was able to be rescheduled for the same week” just one year later.
Jazz season opens in January, but tickets available now
Joshua Redman on Jan. 20. Redman, a ceaselessly innovative saxophonist, and his band “evoke a sound that is both challenging and provocative to hard-swinging, melodic, and soulful – music with a joyous and celebratory spirit,” according to supplied material. Redmond’s latest album is “Come What May” was released in Spring 2019 — at which tome JazzTimes said of Redman, he is “unparalleled among horn players today.”
Dee Dee Bridgewater (Supplied)
Dee Dee Bridgewater and Bill Charlap on March 10. Two Grammy winners will share the stage as Grammy and Tony Award-winning jazz vocalist Bridgewater and world- renowned pianist Bill Charlap pay a visit. Bridgewater, over the course of a multifaceted career spanning four decades, “has ascended to the upper echelon of vocalists, putting her unique spin on standards, as well as taking intrepid leaps of faith in re-envisioning jazz classics,” according to supplied material. Charlap has performed and recorded with many leading artists of our time, ranging from jazz masters Phil Woods and Wynton Marsalis to singers Tony Bennett and Barbra Streisand. Since 1997, he has led the Bill Charlap Trio, now recognized as one of the leading groups in jazz.
Delfeayo Marsalis on April 14. Marsalis — of the deep and deeply-talented Marsalis musical family — will lead his Uptown Jazz Orchestra in a performance of big band favorites. Over the course of his music career, acclaimed trombonist, composer and producer Marsalis has been praised for his “technical excellence, inventive mind and frequent touches of humor.” He has also been called one of “the best, most imaginative and musical of the trombonists of his generation.” Marsalis, an NEA Jazz Master, has shared the bandstand with jazz legends Art Blakey, Max Roach and Elvin Jones, as well as pop icons Fats Domino, Ray Charles and George Clinton.
St. Cecilia WinterFest Jazz Festival 2022
Acclaimed Grammy–winning jazz bassist McBride will bring plenty of his “friends” to town for a three-day festival: Feb. 24 will feature McBride and Edgar Meyer for a double “double bass” extravaganza; Feb. 25 will be a traditional jazz show showcasing McBride’s celebrated jazz career with his trio and special guest jazz singer Cyrille Aimée; Feb. 26 will be an evening with Christian McBride’s quintet, Inside Straight, for “an unforgettable night of energetic and inspiring jazz.”
Christian McBride, no stranger to St. Cecilia Music Center, will return in a big way in 2021 (Supplied)
McBride, deservedly, has been called a “force of nature, fusing the fire and fury of a virtuoso with the depth and grounding of a seasoned journeyman.” With a career now into its third decade, the Philadelphia native has become one of the most requested, most recorded, and most respected figures in the music world today.
His range and recording span the spectrum of music: from jazz (McCoy Tyner, Roy Haynes, Chick Corea, Herbie Hancock, Pat Metheny) to R&B (Isaac Hayes, Chaka Khan, Natalie Cole, and the one and only Godfather of Soul himself, James Brown) to pop/rock (Sting, Paul McCartney, Carly Simon) to hip-hop/neo-soul (The Roots, Queen Latifah) to classical (Kathleen Battle, Edgar Meyer, Shanghai Quartet).
Meyer is in demand as both a performer and a composer. The New Yorker called him “…the most remarkable virtuoso in the relatively un-chronicled history of his instrument”, Meyer’s unparalleled technique and musicianship in combination with his gift for composition have brought him to the forefront, where he is appreciated by a vast, varied audience.
Grammy-nominated vocalist Aimée ventured from singing on street corners in Europe to dazzling audiences at the world’s most prestigious jazz festivals; from sneaking out to sing in gypsy encampments in her native France to acting on Broadway; from braving the notoriously tough audiences at New York’s Apollo Theatre to being called a “rising star in the galaxy of jazz singers” by The New York Times.
Inside Straight is Christian McBride’s quintet formed in 2009. “Kind of Brown,” the quintet’s debut studio album, was released in 2009 when Will Lyman of PopMatters wrote “This music is unselfconsciously traditional: it’s fun; it swings…it’s not experimental, but it gives superb voice to several brilliant players and one new discovery. In 2013, the quintet released “People Music”, which one reviewer said “The new album finds the quintet in hard-swing mode, delivering what they call “more road-tested, ‘lived-in’ Inside Straight” in an accessible way, and one that makes the audience part of the experience.”
Tickets and COVID pandemic details
Season subscription and single concert tickets to the 2022 SCMC WinterFest Jazz Festival and Spectacular Jazz Series are available online at scmc-online.org or by calling 616-459-2224.
At this date, St. Cecilia states on its website that it “will require proof of fully-vaccinated status, or a negative COVID test taken within 48 hours, to attend a concert at our venue…. SCMC is also highly recommending that all attendees wear a mask while in the building. Attendees will need to bring ID and proof of vaccination the night of a concert. We will continue to monitor the COVID environment and may change policies at any time if necessary. … All ticket holders will be notified if mandatory mask requirements are in effect for a particular show by an artist.”
If SCMC is able to offer post-concert CD-signing receptions, all ticket-holders may be able to meet some of the artists and obtain signed CDs of their releases. Further information will be announced closer to the start of the season on whether COVID restrictions will allow SCMC to hold receptions.
SCMC WinterFest Jazz Festival individual concerts include Christian McBride and Edgar Meyer on Thursday, Feb. 24, with single tickets at $50 and $55; Christian McBride Trio and Cyrille Aimee on Friday, Feb. 25, with single tickets at $40 and $45; and Christian McBride & Inside Straight on Saturday, Feb. 26, with single tickets at $40 and $45.
It is just too easy to think of the UK band Squeeze and follow your mind’s 1980’s classic earworm memory lane to a song like “Tempted” — oh, you know it alright: “Tempted by the fruit of another. Tempted but the truth is discovered. …”
Still Squeeze founding members Chris Difford and Glenn Tilbrook’s songbook — and catchy, moody hipster tunes — went deeper that that back then and goes much deeper today, as the audience at Frederik Meijer Gardens & Sculpture Park will find out when the band stops by on Aug. 22.
If you remember the 1980s, then you remember other “can’t get our of your mind” tunes such as “Cool for Cats”, “Pulling Mussels From A Shell”, and the ultimate kick-back date song for those special “Friends” nights: “Black Coffee in Bed”. If you weren’t there, time to catch up on the caffeine kick.
(Two-time Rock and Roll Hall of Fame Foo Fighters founder Dave Grohl even joined the band at the Bourbon & Beyond Festival in Louisville in September 2019 to perform percussion on “Black Coffee in Bed”.)
Tickets for the Meijer Gardens show are still available. For more information visit meijergardens.org.
Founding members, and hipster heart-n-soul, of Squeeze, Chris Difford and Glenn Tilbrook. (Supplied)
Squeeze was set to begin the U.S. leg of their 24-date Nomadband tour in early August with a headlining tour interspersed with 18 support dates for Daryl Hall & John Oates and will continue throughout the summer into early fall 2021.
And after more than a year of social isolation due to the COVID pandemic, and all those years playing the hits, more modern tunes, and whatever else strikes their Brit fancy, Difford and Tilbrook say they will be inspired and emotional.
“I’m so excited to be back on stage and in the thick of our wonderful set list of songs,” Difford said in supplied material. “Seeing an audience again will be inspiring and emotional, it’s been too long.”
And this Nomadland tour will feature a little something new in addition to its historic attractions.
“I think this is my most anticipated U.S. tour since our first in 1978,” Tilbrook said in supplied material. “Our great band is just getting greater and we are also welcoming Owen Biddle, who joins us from Nashville.”
History and musical journeys
Squeeze’s debut self-titled album was released in 1978 and at the height of the punk revolution, but its pop songwriting hooks and melodies were often compared to the 1960s British Invasion. The band continued, off and on stage and vinyl releases, through 1999, when the original Squeeze disbanded before reuniting in 2007 and releasing three new albums since then — 2010’s “Spot the Difference”, 2015’s “Cradle to the Grave” and 2017’s “The Knowledge” — as well as various solo projects.
The critically acclaimed ‘Cradle to the Grave’ was written as a soundtrack to Danny Baker’s BBC TV sitcom ‘Cradle To Grave’. One reviewer said “This album marked the complete and triumphant reintegration of the masterful songwriting axis of Chris Difford and Glenn Tilbrook, in a beautifully-observed series of fond vignettes about childhood, growing up and the absurdities of the ride through life we’re all on.”
The band has always been known for its live performances as well, and in 2016 they triumphed on Glastonbury’s Pyramid Stage, with The Guardian saying they “[went] down a storm… Squeeze’s success is a pretty infectious thing.”
Aside from Difford and Tilbrook, Squeeze now features keyboardist Stephen Lange and drummer Simon Hanson (since 2007,) percussionist/back-up singer Steve Smith (vocalist for house music group Dirty Vegas) along with pedal/lap steel guitarist Melvin Duffy (who joined them for the 2019 tour) and Owen Biddle, former bassist for The Roots.
It is fitting, for many reasons, that Ani Di Franco’s just released album is titled “Revolutionary Love” — one reason being the fact that the musician and social activist has a long history of writing songs as reflections of not only her personal life but also society at large.
It is also fitting, as the audience will see Aug. 23 when Di Franco hits the stage at Frederik Meijer Gardens and Sculpture Park, that the new release is on her Righteous Babe Records label.
Ani Di Franco. (Daymon Gardner)
With the current divisions and strife in our world, Di Franco states that “Revolutionary Love” is necessary now, for her and for the message she wants to bring.
“It’s about carrying the energy of love and compassion into the center of our social movements and making it the driving force,” Di Franco said in supplied material. “It’s about finding it within ourselves to stay curious about our opponents instead of shutting down.”
Tickets for the Meijer Gardens show are still available. Visit more information visit meijergardens.org.
Di Franco wrote many of the new tracks on the road prior to returning home to New Orleans in February 2020 — just days before the touring music businesses shut down.
While the country soon encountered COVID and solitary lives, Di Franco felt the urgent need to collaborate creatively and record the new music. After being off the road due to the pandemic, Di Franco is back on tour beginning Aug. 19, and her stop at the Fifth Third Banks Summer Concerts series will be one of her first shows. Elizabeth Moen is expected to open.
“My songs have always reflected an acute connection between my personal life and the life of my society,” Di Franco said in supplied material. “As I started to come out of dealing with years of personal hardship, I saw that my entire country was struggling with the same problems: the same themes of how much damage we do to each other and how much pain we’re carrying, and the same question of how to keep going when we’re so broken.”
Inspiration for new music came from another activist
With its exploration of so many complex emotional states — forgiveness, shame, empathy, resilience — “Revolutionary Love” opens on its title track, a “profoundly resolute” piece inspired by Sikh-American activist/filmmaker/lawyer/author Valarie Kaur.
Album cover of Ani DiFranco’s “Revolutionary Love”. (Supplied)
“A lot of the language in that song comes from Kaur’s book ‘See No Stranger’,” saidDiFranco, who connected with Kaur after watching a talk she’d given in the aftermath of the 2016 presidential election.
Throughout “Revolutionary Love — the song and the collection — DiFranco hits a potent balance of determination and dreamy reflection, a dynamic that echoes one of the central lessons of Kaur’s teachings: “If we don’t push, we will die. If we don’t breathe, we will die.”
“I wanted to have these moments where, after you acknowledge all the insanity and the strife, we step back and shake off that anxiety and fear,” DiFranco said. “We all need that quiet space to reconnect with ourselves and our hope.”
A little history, a little video
While sometimes considered a feminist icon, Grammy winner Ani Di Franco is the mother of the DIY recording movement, being one of the first artists to create her own record label in 1990. While she has been known as the “Little Folksinger,” her music has embraced punk, funk, hip hop, jazz, soul, electronica and even more distant sounds.
Her collaborators have included everyone from Utah Phillips to legendary R&B saxophonist Maceo Parker to Prince. She has shared stages with Bob Dylan, Bruce Springsteen, Pete Seeger, Kris Kristofferson, Greg Brown, Billy Bragg, Michael Franti, Chuck D. and many more.
Di Franco also recently released “Revolutionary Love: Live at Big Blue”, a 95-minute concert documentary film from herself, Terence Higgins and special guest Ivan Neville, and is available for download and on CD via the Righteous Babe store and Bandcamp.
But, heck, see the Righteous Babe live if you can.
Yes, there are already more than a dozen sell-outs of the Fifth Third Bank Summer Concerts at Meijer Gardens’ 28-show July-September lineup, with Frederik Meijer Gardens & Sculpture Park members-only sales continuing until open-public sales start July 10.
Preservation Hall Jazz Band. (Supplied/by Danny Clinch)
And yes, some of the usual “classic rock” suspects are among the sell-outs — The Beach Boys, Kansas, America and Pat Benatar. But, for those more inclined to the “classics” — classic jazz and classic Star Wars — yes in deed, there are still some great concerts with tickets still on the board, including an opening night with the Preservation Hall Jazz Band.
According to a spokesperson for Meijer Gardens, since members-only opening sales opened two weeks ago about 77 percent of all possible tickets have been sold during the “members only” period.
“Many venues offer pre-sale tickets to their VIP lists, club seat holders and other groups, and we’ve chosen to offer a similar benefit to our members by including early access to discounted tickets as a benefit to being a member of Meijer Gardens,” a Meijer Gardens spokesperson said to WKTV this week. “The public is welcome to purchase tickets after our member pre-sale, as well as attend the Tuesday Evening Music Club series which runs every Tuesday night in July and August from 7-9 p.m. Those concerts are included in a general admission ticket to Meijer Gardens.”
A member of the Grand Rapids Symphony. (From An undated outdoor event, supplied by GR Symphony)
Somewhat surprisingly, though, three nights when the Grand Rapids Symphony, with other acts and as the featured act, are among those ticket that remain available.
To kick off the summer concert series, Preservation Hall Jazz Band with the Grand Rapids Symphony will be on stage July 18.
Then the Grand Rapids Symphony conducted by Bob Bernhardt, principal pops conductor, have the stage all by themselves on July 22. The symphony will be performing works by some of the most popular movie composers of all time — including John Williams’ music from the Star Wars saga, Raiders of the Lost Ark, and Jurassic Park. (Music from Star Trek the Next Generation, Cinema Paradiso and Titanic, will also be on the program, we are told.)
China Forbes will be performing with Pink Martini, and the symphony (Supplied/by Chris Hornbecker)
Finally, the always popular night of partying with Pink Martini ( this time featuring China Forbes) will be accompanied by the Grand Rapids Symphony on July 29.
“We are very excited to bring the Grand Rapids Symphony back to Meijer Gardens for these special concerts,” Mary Tuuk Kuras, symphony president & CEO, said in supplied material. “Our shared mission of promoting the arts and bringing our community together makes this partnership a wonderful fit.”
Getting all ‘jazzed’ up
While all three of the symphony concerts should be great night of music, opening night with the Preservation Hall Jazz Band will likely be a night not to be missed.
The Preservation Hall Jazz Band — or just PHJB, for the in the groove — are proof that New Orleans has been the point at which sounds and cultures from around the world converge, mingle, and resurface. The group has held the torch of New Orleans music aloft for more than 50 years, “all the while carrying it enthusiastically forward as a reminder that the history they were founded to preserve is a vibrantly living history,” according to supplied material.
Preservation Hall Jazz Band. (Supplied/by Danny Clinch)
PHJB continues that march forward with So It Is, the septet’s second release featuring all-new original music. The album, according two supplied material, “redefines what New Orleans music means today by tapping into a sonic continuum that stretches back to the city’s Afro-Cuban roots, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport, including legends like Stevie Wonder, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket, Arcade Fire and the Black Keys.”
Take a breath, and take that in for a moment.
Details of getting the tickets
Tickets for the concerts, via Meijer Gardens’s new new ticketing partner, Etix, will be available online at Etix.com (preferred method) with handling fee of $10 per order, or by phone at 1-800-514-etix (3849), also with a handling fee of $10 per order. There will be no on-site ticket sales at Meijer Gardens.
Gate and show start times vary. Check MeijerGardens.org/concerts for details. All information is subject to change. All shows will take place rain or shine, weather delays are possible. There are no ticket returns or refunds.
Meijer Gardens has created an Insider’s Guide to Buying Tickets to help with ticket purchasing. The Insider’s Guide is available at MeijerGardens.org/concerts.
Members can continue to buy tickets during the members-only presale through midnight, July 9.
Sales to the public begin at 9 a.m., July 10. There is a limit of 8 tickets per show, per transaction. Again, there will be no on-site ticket sales at Meijer Gardens. Ticket can be purchased online at eTix.com with a handling fee of $5 per order (not per ticket) and convenience fee of $5.25 per ticket applies to all sales, or by phone at 1-800-514-etix (3849), also with a handling fee of $5 per order and convenience fee of $5.25 per ticket applies to all sales.
Those of us who suffered acoustic folk/rock withdrawal this year due to venues such as St. Cecilia Music Center and the Frederik Meijer Gardens & Sculpture Park having canceled their seasons — with the likes of Steve Earle, Lucinda Williams and Jason Isbell set to tour last summer — there is good news steaming.
While only time, and us putting on our masks, taking a shot or two, and a little pandemic good luck, will tell if and when music tours return to West Michigan, local fans can get a free online concert this weekend featuring Earle, Williams and Isbell, as well as a ton of other performers.
Steve Earle, Luck Productions, and City Winery are set to host the 6th annual John Henry’s Friends Benefit Concert For Autism Sunday, Dec. 13, beginning at 7:30p eastern, with a free live on-line feed available via luck.stream/johnhenrysfriends. (You do have to set up an account at Luck Stream, but it was fairly painless. And any on-line donations will be appreciated.)
The annual benefit concert is the passion play of musician/author/playwright/activist — and diehard folk singer — Steve Earl, who for five years has been gathering a group of “world-class friends and performers for a one-night-only concert which raises money for The Keswell School, an educational program for children and young adults with autism,” according to supplied material.
And with 100 percent of donations going to The Keswell School — an institution, near to Earle’s heart at which his son and the event’s namesake, John Henry, is a student— it is not only a night of music but also a night of giving to a great cause.
Lucinda Williams. (Supplied/Artist)
“Well, 2020 has pretty much sucked so far,” Earle said in supplied material. “It’s been tough on everybody, including those of us in the performing arts, who, after all, depend on the patronage of live audiences for our very livelihood. Therefore, I’m especially grateful that some of my favorite people have come together against all odds to support a cause that is near and dear to my heart, the Keswell School.”
In addition to scheduled performances from Steve Earle & The Dukes, Lucinda Williams, and Jason Isbell & Amanda Shires, other names scheduled include Jackson Browne, Emmylou Harris, Graham Nash, Josh Ritter, Matt Savage, Shawn Colvin, The Mastersons and Warren Haynes.
Jason Isbell. (Supplied/Alysse Gafkjen)
“Since we’ve been doing these shows, they are always my favorite day of the year … good music, good friends, and a good cause,” Earle said. “This year’s performers are alumni, one and all, and I’m eternally grateful to each and every one for suiting up and showing up in the hour of our school’s greatest need.”
Founded in 2002, the Keswell School, according to supplied material, is based “on the belief that children diagnosed with ASD can live full and productive lives as integrated members of their communities, The Keswell School provides educational, therapeutic, and supportive services for children diagnosed with ASD and their families. The Keswell School challenges students to accomplish in aspects of school life and prepares them for the fullest possible engagement in the world.”
A full list of artists and more information, including how to donate, can be found at luck.stream/johnhenrysfriends.
A tough year for Earle, in addition to pandemic
While one of Steve Earle’s sons will be on his mind at the benefit concert another may well be in his heart.
Steve Earle & The Dukes “J.T.” album cover.
On the forthcoming album, “J.T.”, Steve Earle & The Dukes pay tribute to Steve’s late son, Justin Townes Earle (J.T.), who passed away on Aug. 20, 2020, in Nashville. The album will be released digitally on what would have been Justin’s 39th birthday, Jan. 4, 2021 (via New West Records).
(Justin Townes Earle, incidentally, was the first show of St. Cecilia Music Centers’ Acoustic Cafe series in 2014.)
According to Steve Earle’s website, “J.T.” finds he and The Dukes covering 10 of Justin’s songs — from “I Don’t Care,” which appeared on his 2007 debut EP, “Yuma”, and a trio of selections from his full-length debut album, “The Good Life”, to later compositions like 2017’s “Champagne Corolla” and 2019’s “The Saint Of Lost Causes,” which was the title track of Justin’s eighth and final studio album.
“J.T.” closes with “Last Words,” a song Steve wrote for Justin.
According to supplied material, 100 percent of the artist advances and royalties from “J.T.” will be donated to a trust for Etta St. James Earle, the three-year-old daughter of Justin and Jenn Earle.
The Grand Rapids Ballet’s 2020-21 virtual season begins this week with the all-too-appropriately titled program Business as (un)usual — which includes a world premiere by Princess Grace Award winner and Beyoncé choreographer Darrell Grand Moultrie.
Moultrie, in fact, offered a telling observation of dance in the time of COVID-19 via a Nov. 2 commentary on an Instagram photo posted by the Ballet, one it which you see the choreographer leading a Zoom rehearsal with he remote and company dancer Adriana Wagenveld on stage.
“I love and hate this photo by Scott Rasmussen,” Moultrie writes. “I love the shot because it is beautiful but the empty seats hit me with the reality of the present state. This is hard. Hold on and hold each other tight. Keep laughing. Keep hope. Keep dreaming.”
Certainly the Grand Rapids Ballet is keeping hope and dreaming — and exploring new means of artistic expression — with its new season.
A scene from a work by Grand Rapids Ballet dancer Yuka Oba-Muschiana (Supplied/Scott Rasmussen)
Starting this weekend, Nov. 13-15, with Business as (un)usual, available virtually either as part of a season subscription or, now, a single virtual program ticket, the Ballet will offer four programs including “a reimagined version of The Nutcracker,” produced in partnership with Grand Rapids own SALT Creative Production Studio.
The Nutcracker Experience will be available Dec. 18-27. In March 2021, Collective Force will be offered, and in April the program will be Jumpstart: on Film.
“I am proud to present a season unlike any other in our 49-year history,” James Sofranko, artistic director of the Grand Rapids Ballet, said in supplied material. “While we will miss the exhilaration of performing in a theater for a live audience, we are excited to present our art in a new way, delivered virtually to you in the comfort of your own home.”
While season subscriptions are no longer available, individual “tickets” are available for $15 for each show — and the ballet says they “kindly suggest you purchase one per person viewing.”
Each program is available to view as many times as desired for 72 hours from the time of online premiere. The Nutcracker Experience is the exception; it will be available to view as many times as desired Dec. 18-27.
The 2020-21 ballet season in brief
Violinist Gene Hahn (Supplied/Scott Rasmussen)
Business as (un)usual is a mix of new and existing works featuring the world premiere by Moultrie, a world premiere by Sofranko featuring a collaboration with violinist Gene Hahn, a world premiere by company dancer Yuka Oba-Muschiana, Christopher Stowell’s A Midsummer Night’s Dream pas de deux from the postponed 2019-20 season featuring the music of Felix Mendelssohn, works by resident choreographer Penny Saunders, and works by company dancers Gretchen Steimle and Matthew Wenckowski.
The Nutcracker Experience, a new version of the beloved holiday classic, has choreography by Val Caniparoli, with many of the “favorite on-stage moments, behind-the-scenes interviews and rehearsals” and musical accompaniment of Grand Rapids Symphony.
Collective Force will feature “the world’s most celebrated and in-demand choreographers” — Penny Saunders, Danielle Rowe, Adam Hougland, Jennifer Archibald, Amy Seiwert, Edwaard Liang, Katarzyna Skarpetowska, and Trey McIntyre — “contributing to a performance that will truly be an immersive tour de force.” In addition, Sofranko will present a new work featuring the music of Michigan-based cellist Jordan Hamilton.
Jumpstart: on Film will be choreographed by the dancers of Grand Rapids Ballet and offers an “innovative program (that) will also provide them the unique opportunity to explore a completely new layer of creativity and expression: filmmaking.
Visual artist George Segal was a sculptor, yes. But the current multi-medium exhibit at Frederik Meijer Gardens & Sculpture Park, “George Segal: Body Language”, is clear evidence he was as interested in the human condition as he was in human representation.
The exhibit had a COVID-19 delayed opening this summer, and will continue on display at Meijer Gardens through January 2021.
After having lived with the exhibit for several months, WKTV caught up with Jochen Wierich, Meijer Gardens’ Curator of Sculpture & Sculpture Exhibitions, to talk about the reasons one visit with Segal’s works is probably not enough to understand and fully appreciate the artist and his art.
While Segal (1924-2000) was often, and in Wierich’s opinion unfittingly, lumped into the Pop Art era of the late 1950s and ‘60s — along with artists such as Andy Warhol and Roy Lichtenstein — Segal was much more an observer of human nature, an explorer of human emotion.
That exploration of human nature and emotion is singularly clear in “Woman in Arm Chair”, already on permanent display at Meijer Gardens. But particularly telling to Wierich is “Street Crossing”, a 1992 work with several ambiguous figures moving through a fictional crossroads, seemingly blind to one another and to their surroundings, and on display as part of the current exhibition.
“Street Crossing is a very different piece because it shows Segal working with a large group of people, the scene he observed in New York, crossing the street and seeing people intersecting but not really interacting,” Wierich said. “It is a wonderful example of how he observed life, how he looked at people in everyday life.
“You might say, in today’s world of COVID-19, it already shows a bit of awareness of how people share space and how they navigate their physical distance. Or not.”
In WKTV’s video interview with Wierich, the art expert and educator also touched on how the current exhibit explores Segal’s works in many mediums, not just in sculpture, as well as why he did not always fit in neatly with his Pop Art peers.
“George Segal: Body Language” spans the career of Segal and focuses on his “creative vision in representing body language across a variety of materials,” as stated in supplied material. This is the first exhibition of Segal’s work at Meijer Gardens since 2004 and is the first time that a selection of the gift of 32 prints, one sculpture and three wall reliefs from the Segal Foundation and Rena Segal will be on display.
Frederik Meijer Gardens & Sculpture Park is located at 1000 E Beltline Ave NE, Grand Rapids. For more information visit meijergardens.org.
WKTV college interns Rachel Weber and Matt Main contributed to this story.
One cannot walk through the current main building area of Frederik Meijer Gardens & Sculpture Park and not take note of, pause to wonder about, the mysterious white-shrouded “Woman In Arm Chair”.
“Woman In Arm Chair” by George Segal. (William J Hebert)
Is she alive? Sleeping? Is she someone’s grandmother? Someone’s muse?
Such is the work of George Segal, one of the masters of Pop Art and so much more.
Meijer Gardens will now offer more clues into the master’s mind as the venue announced June 15 the opening this week of its highly-anticipated but delayed multi-media exhibition, “George Segal: Body Language” — a show which combines the artist’s sculptures side-by-side with a recent gift of prints from the Segal Foundation.
The exhibit, the announcement states, “explores Segal’s career and focuses on his remarkable versatility in representing body language across different media including plaster and various print techniques.”
The exhibition will open today, Tuesday, June 16, and will run through Jan. 3, 2021.
“Neysa” by George Segal. (Chuck Heiney)
“George Segal: Body Language” will span the career of Segal and focus on his “creative vision in representing body language across a variety of materials.” This is the first exhibition of Segal’s work at Meijer Gardens since 2004 and will be the first time that a selection of the gift of 32 prints, one sculpture and three wall reliefs from the Segal Foundation and Rena Segal will be on display.
“We are thrilled to share this selection of George Segal’s sculptures, reliefs and two-dimensional works with our guests,” Jochen Wierich, Meijer Gardens’ Curator of Sculpture & Sculpture Exhibitions, said in supplied material. “Segal’s exploration of the human body across different media continues to resonate. By showing the wide range of prints he made while also working on sculpture, we hope to add a new and largely unexplored dimension to this important 20th century artist.”
As detailed in the announcement, approximately 60 years ago, Segal “embraced a new working process that catapulted him to become one of the most recognized twentieth-century sculptors.”
During the summer of 1961, Segal was introduced to medical gauze bandages which he began to use as a primary material to cast plaster sculptures. The following year he was included in the legendary exhibition “The New Realists”, along with Andy Warhol, Roy Lichtenstein, Claes Oldenburg and Jim Dine. In response to this group exhibition, the American media began to refer to the artists as a new movement: Pop Art.
“Girl in Bright Red Shirt” by George Segal. (Chuck Heiney)
“The George and Helen Segal Foundation is pleased to see Frederik Meijer Gardens & Sculpture Park exhibit their collection of Segal works along with rarely seen prints,” Rena Segal, President of the George and Helen Segal Foundation, said in supplied material. “It is wonderful that his work will inspire new audiences.”
There will also be several special exhibition programs associated with the show. (Exhibition programs are drop-in and registration is not required. Please note, due to COVID-19, programming might change. Please visit MeijerGardens.org/Segal for a current list of exhibition programming.)
Among the special programs scheduled are:
— Sculpture Walk: Figures in the Gardens. Sunday, July 12, at 2 p.m. (Free with admission.) Amber Oudsema, curator of arts education, will lead an exploration pf the Sculpture Park during an hour-long walk, discussing sculptures that focus on the human figure. Learn about how artists investigate the human condition through the body.
— Lecture: Exploring Process — Printmaking. Sunday, Aug. 9, at 2 p.m. (Free with admission.) Mariel Versluis, working artist and chair of the printmaking program at Kendall College of Art and Design, will discuss the processes of printmaking. Topics will include why an artist might choose one printmaking process over the other, when to add color and which medium is her favorite.
Frederik Meijer Gardens & Sculpture Park is located at 1000 E Beltline Ave NE, Grand Rapids. For more information visit meijergardens.org.
When summer 2020 live music schedules were being made out early this year, one concert on many people’s “must buy” ticket list was Jason Isbell and the 400 Unit’s June 24 stop at Grand Rapids’ DeVos Performance Hall.
Not only does the alt-country/true country singer/songwriter extraordinaire and his tight band always bring it, they would be bringing along new music from his scheduled May release of Reunions.
Then came March and the pandemic and the spate of sometimes-good, sometimes-not “concerts from home” by every musical artist trying to keep their names and music in mind.
Still, while Isbell’s DeVos concert is a “postponement waiting to happen” at this point — Yes, websites still say you can buy tickets, but, no, it ain’t happening — Reunions was released as planned.
Jason Isbell and The 400 Unit’s Reunions album cover. (Supplied)
And intentionally or by fate, Isbell’s latest collection of music is bluntly reflective not only for our current times (of varying degrees of isolation and social unrest) but for our pending times (of more social unrest and political trials).
Even the album cover speaks of isolation.
And the first single off the release, “Be Afraid”, is a straight-ahead rocker that seems to speak directly to our trying times.
“We’ve been testing you … And you failed … To see how long that you could sit with the truth, but you bailed … I don’t think you even recognize the loss of control … I don’t think you even see it in yourself.”
Read that anyway you want. A fragile society and our place in it? A broken political system the we may have only one last chance to fix? A racial divide that each of us carry some blame for? You call it.
The artist on his music
Well before Mr. George Floyd’s killing and the ensuing social unrest, Isbell seemed to be speaking to issue: “I’m trying to encourage people to be themselves as loudly as possible,” Isbell said about “Be Afraid”. “I don’t know if I’m in any position to do that but I think if we’re going to make any progress as a society then people have to be brave enough to say what they feel.”
But Isbell, and his Reunions work with the 400 Unit, is much more than cryptic lyrics you can read into and a country/rock blur of music that often sounds like nothing else available on the download.
Following in the wake of his recent string of astoundingly accessible yet personal solo work after burning out with the Drive-by Truckers, starting with 2013’s Southeastern, either Isbell’s solo guitar sound or his Big Unit sound has carried him and his audience far. (From not selling out a Meijer Gardens summer concert to filling up the DeVos, for example.)
And while Reunions does revisit some old ghosts — personal trials, relationship failures, surviving at all costs — some of it sounds a bit bigger, a bit more stadium rock; but without losing the small-town perspective driven by a solitary voice and his guitar.
Jason Isbell. (Supplied/Alysse Gafkjen)
“I felt like we had made a statement with Southeastern, Something More Than Free, and The Nashville Sound. Those albums are looking at what happens post happy ending,” Isbell said in supplied material. “They’re saying “I survived—now what?” So I wanted to make something different. … This record probably gets closer to the music I actually like to listen to than anything I’ve done in the past.”
Reunions is Isbell’s seventh full-length studio album and the fourth released with his band, the 400 Unit, a tight, seasoned group which now also includes his wife and mother of his child, fiddler and singer Amanda Shires — yes, of recent fame by forming the country music supergroup “The Highwomen” alongside Brandi Carlile, Maren Morris and Natalie Hemby. The new album also includes several special background vocals from special guests including David Crosby.
A tour of the track list of Reunions, similar to his other recent releases, finds Isbell sliding like a pedal steal riff from anthem rock to ballad to country love song to hymn. And rarely are they not worth the walk.
My favorites — outside of the in-your-face “Be Afraid” and personally introspectiveness of “It Gets Easier” — include the troubadour storytelling of “Overseas”, the gentle touch of “River” and “St. Peter’s Autograph”, and the twangy country sound of “Letting You Go”, which explores his newfound job of father.
“It was a challenge to write about something that is so important to me but that’s my wheelhouse,” Isbell said. “I like writing songs about things that could get maudlin, but pulling back before they do. … I feel like my job as a parent is not so much to protect as to prepare. I think it’s easier said than done because our instinct is to protect at all costs but I feel it more important to prepare her for the world. It’s hard to let them go.”
And Reunions is as much about a past that is still in the shadows as it is about working through the present and into the future.
“There are a lot of ghosts on this album,” Isbell said in supplied material. “Sometimes the songs are about the ghosts of people who aren’t around anymore, but they’re also about who I used to be, the ghost of myself. I found myself writing songs that I wanted to write fifteen years ago, but in those days, I hadn’t written enough songs to know how to do it yet. … In that sense it’s a reunion with the me I was back then.”
After getting Reunions, all we can do now is wait for better days and another summer concert season.
Reunions is available for download at the usual suspects, but please give some business to local record stores such as Grandville’s Corner Record Shop.
St. Cecilia Music Center’s Royce Auditorium stage may be quiet now — first due to delayed and cancelled dates, and soon due to it usual summer hiatus — but, boy, when the lights come back on this fall the venue will be supercharged with must-see concerts for every musical taste.
Announcing its “largest concert season in its history,” late last week, St. Cecilia’s 2020-21 season will kick off in September with the rescheduled folk series visit by Marc Cohn, with the first jazz series concert coming in October with songbird Dee Dee Bridgewater together with pianist Bill Charlap, and the first Chamber Music Society of Lincoln Center concert planned for November.
While there is likely something for every fan in the current lineup of 18 shows (the folk series usually grows a little as the season goes on), there are a few highlights, especially the February 2021 inaugural jazz WinterFest featuring Christian McBride and Friends — three nights of music including an undoubtedly hot night of cutting edge jazz on a usually cold winter day when Christian McBride with Inside Straight take the stage Feb. 27.
“Each year our outstanding artist roster grows as the word spreads about the incredible beauty and acoustics of Royce Auditorium,” Cathy Holbrook, St. Cecilia executive director said in supplied material. “We always hear how much artists love our setting, the acoustics in the hall and the ever-so-welcoming audience who they get to see up-close and personal while performing. … This year we are excited to launch a new WinterFest Jazz Festival with Christian McBride and Friends.”
There will be some adjustments as far as ticketing is concerned, St. Cecilia also advises.
“Due to the changing restrictions surrounding COVID-19, we are planning for tickets to be on sale July 1,” Holbrook said in supplied material. “This will allow us to make any further adjustments to this schedule as needed. Our hope is to start concerts in the fall as planned.”
Holbrook also advises that St. Cecilia will scrupulously follow the “new normal” when it comes to safe venue operation and “recommended cleaning and disinfecting protocol.”
And the concert rundown …
As mentioned, the Acoustic Café Folk Series will kick things off with singer-songwriter Marc Cohn in November, and include another rescheduled date with Shawn Colvin in January. Returning artists from past seasons include the Milk Carton Kids in December and Leo Kottke in February, as well as first-time St. Cecilia visits by Sam Bush and then the Watkins Family Hour in November, Kat Edmonson and then Rodney Crowell in March and The Mark O’Connor Band in April.
Rodney Crowell (Supplied/Greg Ross)
To spotlight just one: If you know your Nashville/Austin country music scene, you know Crowell. Not only is he often considered one of he Godfathers of the Americana music scene, but he has sung with and written music for/with the who’s-who of the genre: Willie Nelson, Lyle Lovett, Vince Gill and Lee Ann Womack — just to name drop a few.
The St. Cecilia jazz series — in addition to the Christian McBride-led jazz Winterfest, running Feb. 25-27 and Grammy and Tony Award-winning singer Bridgewater with Charlap on the keys in October — also includes the always-superb saxophonist Joshua Redman, visiting with his quartet in January, and acclaimed trombonist, composer and producer Delfeayo Marsalis, with the Uptown Jazz Orchestra, in April.
Joshua Redman Quartet. (Supplied)
McBride’s run on the Royce stage begins Feb. 25 evening he and fellow bassist Edgar Meyer for a “double Double Bass” extravaganza; the Feb. 26 will be a traditional jazz show showcasing McBride’s celebrated jazz career with his trio and special guest jazz singer Cyrille Aimée; and then McBride’s quintet, Inside Straight, on stage “for an unforgettable night of energetic and inspiring jazz” on Feb. 27.
(A bit of ticketing advice, the Joshua Redman night will likely be just as special a night and just hot a ticket as McBride’s Winterfest.)
And, of course, chamber music fans will get their annual night(s) of bliss as the Chamber Music Society of Lincoln Center will perform three concerts: “Sensational Strings” in November, featuring the music of Dvořák, Beethoven and 20th-century master Erwin Schulhoff; “Magical Schubert” in January, featuring three of Franz Schubert’s most significant chamber music works; and “The Brahms Effect” in April, celebrating the music and influences of composer Johannes Brahms.
For more information on St. Cecilia Music Center’s 2020/2021 season, visit scmc-online.org or calling 616-459-2224.
The members of Boardman Brown, a West Michigan band that lit a little musical bonfire at a Wyoming Concerts in the Park summer series gig last summer, are working their way through the COVID-19 restrictions just like everyone else — at home.
While more fortunate than some other local musicians struggling without the income from local gigs, Boardman Brown member’s day jobs are keeping most of them busy — if more than a little starved for human interaction — as they await the opportunity to get back in front of a crowd.
“It’s a bizarre time, that’s for sure,” Shelagh Brown said to WKTV. “Boardman Brown is a side gig for everyone in the band, so thankfully we are all able to manage. (Husband and musical partner) Robbie (Koets) has a full time job, and I have a couple part time jobs that we are both able to do from home. I’m incredibly thankful for the technology that we have that makes it possible.
“And, late summer, fall, I think I can speak for everyone in the band that we’ll be ready to get out there again, make more music, and see people in person.”
Until then, if you’re a fan or soon-to-be fan, WKTV caught up with Boardman Brown on in July 2019 as part of our coverage of the City of Wyoming’s summer concert series. And the Boardman Brown concert is on demand here as part of WKTV’s “From Your Couch” concert series.
Boardman Brown, on stage at a July 2019 Wyoming Concerts in the Park. (WKTV)
The country-rock-pop band features three lead singers, some great guitar play by Adam Newton and Brian Fraaza, and some great covers stretching from County-2000s hitmakers like Drake White (“Let it Ride”) to Pop-2000s hitmakers such as Adele (“Could Have Had it All”). In addition to Brown and Anna Joy Tucker supplying the female vocals, and keyboards, Fraaza brings the more “manly” vocals, with Koets on bass and Jeff Hale on drums.
From the live concert, I particularly liked the cover of Lord Huron’s “The Night We Met” featuring the harmonies of Brown, Tucker and Fraaza, and their version of the new-alt-something artists The New Respects’ lovely song “Trouble” — available both in the WKTV concert and an even better version on the band’s Facebook page.
And speaking of their Facebook page … When you go, defiantly make a stop at their version of the great (and recently late) John Prime’s classic “Angel From Montgomery”. Worth the visit all by itself.
Had to ask: What about that name?
“The band name?” Brown said. “We had previously written music together at a cabin up north, outside Traverse City, and the cabin is on the south branch of the Boardman River. After a bit of thinking and coming up with many names, Boardman Brown was the one that stuck!
In an intimate acoustic setting, Boardman Brown sings John Prine’s “Angel from Montgomery”, one of the band’s Facebook videos. (Supplied/Boardman Brown)
“We had all played together at church in the worship band, and had been friends for long time through that. Throughout that time, I had a local country band (the Shelagh Brown Band) … Anna Tucker and Brian Fraaza also have a duo called Criminals of Eden. The band came together for the first time when the Shelagh Brown Band was competing in B93’s Battle to the Bash quite a few years ago. … After making it to the finals in the contest, we all agreed that this combination of musicians was something special.”
As far as getting through the current COVID-19 time of isolation, Brown is working through it like everybody else but also sees it being a time of possible growth for herself and the band.
“We haven’t gotten to original music as Boardman Brown, yet. We’ve written together and separately for other projects. And have plans to write together as a band,” she said. “I believe that as we walk through this time apart, and look back from the other side of this, that we will have lots to talk about and write about.”
If your locking for more great “From Your Couch” concerts, WKTV has a bunch of recent concerts covered by WKTV Community Media and available on-demand at WKTVlive.org.
Editor’s Note: This concert has been rescheduled for Sept. 11.
By WKTV Staff ken@wktv.org
The last time Grammy award winning singer/songwriter Marc Cohn took to St. Cecilia Music Center stage, in early 2017, he “received a resounding standing ovation after totally captivating the audience with his powerful voice and emotional lyrics,” according to one in the audience.
On March 19, Cohn will return with new music and, of course, his classics including the timeless “Walking in Memphis”, and tickets remain available.
“Since he was last here in Spring 2017, Marc has spent time on the road with legendary Michael McDonald, worked closely with David Crosby and other American music greats including soul survivor William Bell, who won his first Grammy at age 78 with Marc’s help in creating Bell’s celebrated album, “This is Where I Live”, Cathy Holbrook, St. Cecilia Music Center Executive Director, said in supplied material. “With his latest work with the gospel legends Blind Boys of Alabama, we can’t wait to hear his new concert repertoire.”
In August 2019, Cohn released a soul/gospel/pop album “Work to Do”, along with Grammy Award winners Blind Boys of Alabama. The album’s collection “combined Cohn’s unique vocal and songwriting talents with the sanctified genius of these veteran gospel stars,” according to supplied material.
Cohn originally rose to musical fame when he won the Grammy for his soulful ballad “Walking in Memphis,” and since that time he has solidified his place as one of this generation’s “most compelling singer-songwriters, combining the precision of a brilliant tunesmith with the passion of a great soul man.”
No less of a singer/songwriter than Bonnie Raitt reportedly said, “Marc is one of the most soulful, talented artists I know. I love his songs, he’s an incredible singer, and I marvel at his ability to mesmerize every audience he plays for.”
The final St. Cecilia Music Center Acoustic Cafe Folk Series for the 2019-20 season is Shawn Colvin, who also returns returns for her second appearance at St. Cecilia Music Center, on May 19, when she will be performing her newly released album Steady On Acoustic in its entirety. Her original 1989 album Steady On became her first Grammy Award winning album and brought her significant acclaim and a large devoted fan base.
Marc Cohn concert tickets are $40 and $45 and can be purchased by calling St. Cecilia Music Center at 616-459-2224 or visiting the box office at 24 Ransom Ave. NE. Tickets can also be purchased online at scmc-online.org.
A post-concert “Meet-the-artist” reception with a cash bar will be offered to all ticket-holders giving the audience the opportunity to possibly meet Marc Cohn and obtain signed CDs of his many releases.
Rosanne Cash and John Leventhal, she of the quintessential country voice and he of the acoustic guitar mastery, on stage at a unknown venue. (Courtesy of the artist)
By K.D. Norris
ken@wktv.org
60-second Review
The St. Cecilia Music Center’s Acoustic Cafe folk series, and the acoustics of the Royce Auditorium, was made for nights like the Feb. 19 visit by Rosanne Cash and John Leventhal, she of the quintessential country voice and he of the acoustic guitar mastery.
Cash, accompanied only by Leventhal — her husband, guitarist extraordinaire, surprisingly subtle pianist, and talented writer/producer — offered up a nearly 2-hour, 18-song set that almost equally left the sell-out audience in blissful silence and had them springing to their feet in appreciation, some before the song actually finished.
The pair’s set fittingly relied heavily on songs from her most recent release, 2018’s She Remembers Everything, co-written by Cash and Leventhal, who also co-produced the songs with Tucker Martine (The Decembrists, My Morning Jacket, Mavis Staples; to name just a few).
Some of the newer songs hint, if not actually shout, about the current sad state of affairs of an America tribalized by politics, reeling from societal conflicts, and grappling with religious and family transitions. Leading off the night with “The Only Thing Worth Fighting For” — “Work me like a battlefield/Locked inside a holy war/Your love and my due diligence/The only thing worth fighting for” — was no accident.
And the album’s title song itself, and Cash’s introduction of “She Remembers Everything”, offered stark commentary on the status of women in the home, the workplace and the modern world.
Rosanne Cash. (Supplied)
But other songs on the new recording harken back to the everlasting focus of all great country/folk/Americana music: the relationships between lovers and life partners that fail as often as they succeed. “Crossing to Jerusalem”, she explained, is a beautiful commentary on Rosanne and John’s 25-year journey in marriage, and a shared love of music. — “This is our deal with the sinners and saints/The law and up above/We’ll be crossing to Jerusalem/With nothing but our love”.
But Cash did not forget her past in the set list, picking selectively and effectively from her very early years (1981’s “Seven Year Ache”); her 2009 release The List, an album based on a list of 100 greatest country and American songs that father Johnny Cash gave her when she was 18 (incuding covers of “Long Black Veil” and “Ode to Billy Joe”); and her Grammy winning 2015 release The River & the Thread (“A Feather is Not a Bird”).
The duo’s two-song encore was a direct homage to country/folk musics past. First with a cover of Johnny Cash’s “Tennessee Flat Top Box” — one of the many songs on which Leventhal and his guitar work shined — and well as the classic “500 Miles Away from Home.”
Cash and Leventhal sent everybody home, like a good country meal, well satisfied.
May I have more, please?
Never heard of Johnny Cash’s list of 100 must-listen “essential” country/folk songs?
The list includes, at least as recounted and recorded by Rosanne, the expected — “Motherless Children”, the southern gospel traditional popularized by the Carter Family, and “Take These Chains From My Heart”, the last song Hank Williams recorded. But also some you might not expect, including “Girls from the North Country” by Bob Dylan.
Rosanne’s complete list from her father is apparently still unknown, and she is not taking at this point. See one of many stories here.
For information and tickets on remaining St. Cecilia Music Center 2019-20 season concerts visit scmc-online.org.
Raul Midón brings stunning guitar work and hypnotic vocals to his music, but he politely declines to step into any musical-genre box. (Courtesy of the artist)
By K.D. Norris ken@wktv.org
Raul Midón, according to no-less a critic than the New York Times, is “a one-man band who turns a guitar into an orchestra and his voice into a chorus.” So while stunning guitar work and hypnotic vocals are the focal point of the singer-songwriter’s music, he politely declines to step into any musical-genre box.
So, he just happens to be scheduled as part of the St. Cecilia Music Center’s Acoustic Café folk series of concerts, with a debut appearance scheduled for Thursday, Feb. 27. Tickets are still available.
Raul Midón. (Courtesy of the artist)
“My only link to the folk genre is acoustic guitar,” Midón said to WKTV in a recent email conversation. “I’m a jazz trained singer songwriter guitarist with a black and Latin heritage. But I write and sing songs accompanied by acoustic guitar.”
His unclassifiable versatility is evidenced by his having released 10 studio albums as a solo artist, being dubbed “an eclectic adventurist” by People magazine, having collaborated with the likes of Herbie Hancock, Stevie Wonder, Bill Withers, Queen Latifah and Snoop Dogg, and contributed to the soundtrack to Spike Lee’s film “She Hate Me.”
And now, on his latest album, If You Really Want, released in September 2019 and arranged by Vince Mendoza, Midón’s voice and guitar blend with an actual orchestra — the equally diverse Metropole Orkest, a multiple Grammy winning ensemble orchestra based in the Netherlands often called a “hybrid orchestra” due to its ability to float between jazz, big band and symphony orchestra music.
But, Midón said to WKTV about the recording — and re-recording — of If You Really Want, the artist is a bit of a musical perfectionist and tinkerer.
“Once the ensemble parts were tracked, I took the recordings home, taking my time to re-cut the vocals and guitar so that they were as nuanced as possible,” he said in supplied material.
“In today’s climate, time is money, more than ever, unless it’s in the comfort of your own home studio,” Midón said to WKTV. “The budget did not allow for me to sing with the orchestra in the studio. But it’s a nice compromise, plus I have the skills to achieve that.”
Musical talent, musical editing skills and musical confidence, are clearly in abundance with Midón, despite the fact that he is blind — evidenced by the title of Midón’s 2017 release: Bad Ass and Blind.
And that blindness also does not stop him from being at home with a live audience, feeding off the unseen audience, in fact.
“Energy isn’t visible, so what would blindness matter,” he said to WKTV. “I’ve been doing this for 20 years or so, I can read an audience in my own way. Applause is just one way. But if you are in Japan, silence and attentiveness would be another.”
For more information on Raul Midón — and his new album, The Mirror, due out March 13 — visit his website at raulmidon.com.
Two other St. Cecilia Acoustic Café concerts remain for this season, both with tickets available, include Grammy-award winning folk/Americana singer and songwriter Marc Cohn — he of “Walking in Memphis” but so much more — returns to St. Cecilia on March 19.
Then Shawn Colvin returns for her second appearance at St. Cecilia, on May 19, performing her newly released album Steady On Acoustic in its entirety. Her original 1989 album Steady On became her first Grammy Award winning album.
Tickets for Raul Midón on Feb. 27 are $40 and $45 and can be purchased by calling St. Cecilia Music Center at 616-459-2224 or visiting the box office at 24 Ransom Ave. NE. Tickets can also be purchased online at scmc-online.org. A post-concert “Meet-the-artist” party with a cash bar will be offered to all ticket-holders giving the audience the opportunity to possibly meet Midón and obtain signed autographs of his CDs.
The Listening Room is attracting artists, plugged-in and unplugged, to Grand Rapids. (Supplied/Listening Room)
By K.D. Norris ken@wktv.org
Its almost universal: music fans, and artists, love an intimate sound space, one where the audience truly becomes part of the music and the artist can make a visceral connection with the audience. Listening Room, one of Grand Rapids newest music houses, is rapidly becoming known as one of those music venues.
Listening Room, which opened late last year and is located at Studio Park at 123 Ionia Ave SW, has already build a reputation with local audiences as a “jazz club” in the classic style, a folk stage where an un-amplified guitar and voice can be heard and appreciated, a place where up-and-coming bands can fill the house as they hone their sonic skills.
The “Room” is also getting known by national touring acts as a place to unwind if not unplug from the impersonal stadium and festival stages, and get back in contact with the audience — Ladysmith Black Mambazo, Los Lobos and Loudon Wainwright III are only three scheduled examples.
The reasons for the venue’s buzz — with national acts and local audiences — are several fold, according to Quinn Mathews, general manager and talent buyer for the Listening Room.
Los Lobos an their acoustic tour line-up. (Supplied)
“We’re lucky to not only be situated between the cities of Detroit and Chicago, but situated between very well known venues on the east side of Michigan and in Chicago, for instance The Ark in Ann Arbor and City Winery in Chicago,” Mathews said to WKTV about his booking national acts.
“The artists agencies in Nashville, New York, Los Angeles have been sending talent around here for years. … Grand Rapids, as a city, is really growing and making national news. People are here, music fans are here, the artists and agents know it.”
While having national acts stopping by is great, Matthews is just as happy with the steady bookings of local acts … such as The Crane Wives on Feb. 28 and Mid Life Crisis on March 23, to name only two.
The Crane Wives (Facebook)
“This was extremely important to me, to have local, regional, national, and international talent. To have music 4 to 5 if not 6 to 7 nights a week,” he said. “Some nights are free or $5 or $10, some nights have international touring acts with tickets $40-$50. I wanted everyone to feel welcome, not to just book one style for one type of audience.
“There was a weekend a few weeks ago where Friday night was Hip Hop, Saturday night was Jazz, and Sunday night was local songwriters. … It was so great to see the place packed out each night with different people in our community.”
And, after all, a 200-seat venue known for as a music “listening room” is clearly focused on the audience experience.
“I think we’re in an interesting time with music in so many ways,” Matthews said. “The industry really changed in the early 2000’s, music became so easily accessible. Everyone listens to music all the time, it’s easy. You can listen for free within seconds. I always laugh in the grocery store walking around, there will be a kid, 12-years-old, with earbuds in listening to music on one aisle. The next aisle, a 85-year-old with earbuds in.
“Everyone is listening. The trick is do they attend concerts? Many more people are downloading and streaming music, but does that translate to ticket sales for live music? Sure Elton John and Bruce Springsteen sell out arenas, but who attends concerts in rock clubs, coffee shops, breweries, etc?
“I think whether I agree with it or not there seems to need to be another factor for folks to attend a concert. … We wanted to build a place that was comfortable, seated, nice atmosphere, like the old jazz clubs, servers bringing you bourbon, etc., a place that feels really great even before the music starts.”
For more information on all concerts at Listening Room, visit listeningroomGR.com or call 616-900-9500.
Jazz night at the Listening Room with members of the Robin Connell Trio, from January 2020. (WKTV/K.D. Norris)
By WKTV Staff ken@wktv.org
After an opening-night sellout of local jazz with the Robin Connell Trio at the Listening Room, one of Grand Rapids newest music venues, Quinn Mathews, general manager of the venue, reportedly said “It looks like the Listening Room will be booking more jazz.”
Sweet music to local jazz fans, indeed.
The next date with the Robin Connell Trio — this time with guest multi-instrumentalist Ivan Akansiima — at Listening Room, a 200-seat venue located at Studio Park at 123 Ionia Ave SW, will be Thursday, Feb. 6.
“I’ve enjoyed all the opportunities I’ve had to play music with this marvelous person/musician,” Connell said of Akansiima, in supplied material. The “night of music that will include original tunes, jazz standards, Stevie Wonder, John Lennon, and African gems such as ‘Pata Pata’.”
Multi-instrumentalist Ivan Akansiima. (Supplied by the artist)
Akansiima, according to his website, is a mutt-instrumentalist, Christian faith worship leader, jazz musician, composer, arranger, producer, instructor, and researcher from Uganda East Africa. He holds a bachelors degree in music from Hope College and a masters degree in jazz studies from Western Michigan University. He has performed professionally for more than 15 years in 40 countries, but continues to actively play and participate in the local Michigan music scene.
My “music is rooted in Ugandan folk music traditions, Jazz, Gospel, classical, Caribbean, Afro fusion music, etc.,” he says in his website.
The jazz nights start at 7:30 p.m., with doors open at 6 p.m. Tickets are $12, with open seating, drinks available for purchase, and a parking garage attached — “So no outdoor hassle (park on 2nd floor to walk right in),” we are told.
We are also told the January jazz night turned away people at the door, so buy your tickets early or at-least arrive early.
Connell’s “house trio” will usually include Rob Hartman on bass and Keith Hall on the drums. Future guest artists include vocalist Mary Rademacher on March 7, Carl Cafagna on woodwinds on April 1, and the Paul Brewer septet on May 31.
For more information on the jazz series and all concerts at The Listening Room, visit listeningroomGR.com or call 616-900-9500. For more information on the show, visit here. For more info on Ivan Akansiima, visit ivanskansiima.com. For more information on Robin Connell, visit robinconnell.com.
Mitten Brewing Co. north, in Northport in the Traverse Bay area, will be a great place to stop by — summer or winter. (Supplied)
By K.D. Norris ken@wktv.org
It is unclear which Grand Rapids area craft brew U.S. Sen. Gary Peters likes to order when he makes a stop in the area, but he probably has one on the house coming from Mitten Brewing Company.
Thanks to some federal-level advocacy from Sen. Peters’ office, Mitten Brewing Co. has a new Traverse Bay area craft brewing brewery and pub after Chris Andrus, co-owner and co-founder of the Mitten Brewing Co., was able to expedite a license from the Alcohol and Tobacco Tax and Trade Bureau.
Michigan Sen. Gary Peters, shown with Sen. Joni Ernst at Washington, D.C.’s annual Rolling Thunder First Amendment Demonstration Run in 2018 (Supplied)
The story, as given by Sen. Peters’ office recently, is that Mitten Brewing Co. discovered that a brewery in Northport, Mich., was going out of business and “They saw this as an opportunity to expand their brewery as well as protect the jobs of those employees. In order to do so, Mitten Brewing Co. needed to obtain their licensing quickly from the Alcohol and Tobacco Tax and Trade Bureau to open in time for the (past) summer season.”
Andrus reached out to Sen. Peters’ office for help, we are told, and “The office helped cut red tape for Mitten Brewing Co. by contacting the Alcohol and Tobacco Tax and Trade Bureau regarding the brewery’s licensing application. Chris soon thereafter received approval for the necessary license. The Northport location was able to open in time and is now a thriving part of the Northern Michigan community.”
Don’t know about you, but I love Mitten Brewing’ local locales and brews. Maybe I’ll buy the senator one next time we belly-up to the bar together.
Mitten Brewing’s Andrus shared his story in a video released by Sen. Peters’ office, and can be seen here.
Sen. Peters office states that Michiganders in need of assistance with a federal agency to contact his Detroit office at (844) 506-7420 (toll-free) or can visit his website at peters.senate.gov.
Grand Rapids, regional distillery choices growing all the time
It is no secret that Michigan is a booming market for craft distilled liqueurs, but the quality of Grand Rapids area, or nearby, sources might surprise you as much as they continue to surprise me.
In Grand Rapids, there is Long Road Distillers, with cocktails, small-bites, and bottles to-go are available — you can also take a tour for a behind-the-scenes look at the distilling process and get to know what is in your glass from a distilling expert.
Eastern Kille (once known a Grey Skies, FYI) has a downtown tasting room to sample their whiskey, gin, or coffee liqueur. A seasonally revolving menu of cocktails are available to highlight the spirits made onsite.
Nearby, in the great day-trip location of Saugatuck, the New Holland Spirits offer tasting flights and cocktails made with award-winning spirits, along with light snacks and a retail area with bottles to go. Holland, too makes a good stop as Coppercraft Distillery not only has small batch cocktails but an extensive dining menu.
And in the summer, when you are really in the mood for a road trip to the Traverse Bay area, we are told “Michigan’s oldest award-winning ‘Grain to Bottle’ Craft Distillery” is Grand Traverse Distillery. Grand Traverse Distillery distills all of their vodkas, whiskies, gin, and rum in a 1,100 liter Holstein twin column copper reflux pot still.
And I can personally vouch for the idea of getting a “Latitude Adjustment” at Northern Latitudes Distillery in Lake Leelanau, where their gin is to die for and their limoncello — aptly named Limoncello di Leelanau — is worth living for. The tasting room is open seven days a week, and tastings are free and you can buy your favorite selection by the bottle and/or have it mixed into an incredible cocktail.
OK, sharing a bottle of Northern Latitudes is a good reason to spend the night or weekend out of town.
Julien Ehrlich and Max Kakacek, the heart and soul of Whitney, in support of their late 2019 release Forever Turned Around, will visit Grand Rapids’ Fountain Street Church’s sanctuary for a concert Sunday, Feb. 16. (Supplied/Olivia Bee)
By K.D. Norris ken@wktv.org
You have to appreciate musicians who understand the power of falsetto, the right blend of songs to create and to cover, and the perfection of a venue with superb acoustics.
So there will be a lot to appreciate when Whitney, busy on the road in support of their late 2019 release Forever Turned Around, visit Grand Rapids’ Fountain Street Church’s sanctuary for a concert Sunday, Feb. 16, at 7 p.m., with CHAI opening.
At the end of the busy tour schedule to end 2019 and begin 2020, bouncing from their Chicago home to the United Kingdom, and then from Miami to Montreal, the duo to could not have picked a more perfect place to end their current sojourn that the renown acoustic setting of Fountain Street.
The cover of Whitney’s late 2019 release Forever Turned Around.
Restlessness, in fact, is “at the heart of Whitney’s resonant and stunning sophomore album Forever Turned Around,” according to supplied material. “As Julien Ehrlich and Max Kakacek realized over the past three years, life can change drastically. Priorities shift, relationships evolve, home can become far away, and even when luck momentarily works out, there’s still that underlying search for something better.”
Following the success of their 2016 debut release, Light Upon The Lake, the pair have relied on their partnership as they hit the road for what, at times, seems like an endless tours across the world.
“Our friendship has kept us going even though so much has happened in the years since we started the band,” Ehrlich said in supplied material.
Whitney has long been a full-fledged band with keyboardist Malcolm Brown, rhythm guitarist Ziyad Asrar, guitarist Print Choteau, bassist Josiah Marshall, and trumpeter Will Miller backing them live.
But Ehrlich and Kakacek are the heart and soul of Whitney.
Julien Ehrlich and Max Kakacek, the heart and soul of Whitney, in support of their late 2019 release Forever Turned Around, will visit Grand Rapids’ Fountain Street Church’s sanctuary for a concert Sunday, Feb. 16. (Supplied/Olivia Bee)
Both in their mid-twenties, living through the usual life’s ups and downs, “they’ve found home through themselves, their romantic relationships, and their friends, (but) there’s an uneasiness that comes from stability — as evidenced by Ehrlich’s vocals on “Valleys (My Love)”: “There’s fire burning in the trees / Maybe life is the way it seems”.
In its 10 songs, Forever Turned Around allows Ehrlich and Kakacek to “skeptically yet masterfully navigate questions of mortality, doubt, love, and friendship in a grander scope than they’ve attempted before. It’s an album about partnership — romantic, familial and communal, but most importantly a love in friendship: the bonds between two best friends and creative partners and the joy and stress that comes with it.”
On “Used To Be Lonely”, Ehrlich sings: ‘Well it made no sense at all / Until you came along.”
Forever Turned Around came together over several sessions across the country and the world tour, with its earliest material written during tour dates in Lisbon, Portugal. Though Ehrlich is Whitney’s lead singing drummer while Kakacek is the lead guitarist, when writing, both transcend their roles to piece together each offering lyrically and compositionally, they state.
“The way it ends up working is one of us comes up with a basic idea for a song and the other person serves as the foil to complicate that idea. We ask, ‘What can we change to make it more interesting?’,” says Kakacek. “A big thing for us is our ability to take criticism. We’re always open to new ideas.”
After a session with producers Bradley Cook (Bon Iver, Hand Habits) and Jonathan Rado (Weyes Blood, Father John Misty) helped color in the arrangements, the album came together when they reunited with original rhythm guitarist Asrar in his basement Chicago studio — the same place where they hashed out much of Light Upon The Lake. With Asrar’s help, songs like “Song For Ty” and “Forever Turned Around” effortlessly came together. There, the band enlisted Chicago musicians Lia Kohl and OHMME’s Macie Stewart to provide strings throughout the record.
While you and I can make our own judgement on the band’s sound and soundness, the New York Times rather appropriately says of the music on Forever Turned Around: “In writing and arranging, they favor natural imagery and sun-dappled brass; their frontman, Julien Ehrlich, applies his weightless falsetto to musings on human connection, often sounding melancholy but never morose.”
But seeing them, hearing them, at Fountain Street Church will undoubtedly exceed all expectations.
Tickets are $30 ($35 at the door on the night of the concert). For more information on the show, produced in partnership with WYCE and The Pyramid Scheme, visit here.
Sports cars, along with SUVs and trucks, are expected to be the big draw at the 2020 Michigan International Auto Show , as they were last year in this photo. (Supplied)
By K.D. Norris ken@wktv.org
People attend the annual Michigan International Auto Show, running this week at the DeVos Place in downtown Grand Rapids, for many reasons, including to find their next new car or just to get a glimpse of the muscle car or luxury car they’ve always dreamed about.
Many people, however, go to see what’s next in automobile technology or innovation — from space-age rear-view camera systems, to self-driving and self-parking features that almost make the driver a passenger.
But when it comes to innovation and new technology, it could be argued that one must understand, and appreciate, the past to fully embrace the future.
And so it is only logical that the Gilmore Car Museum will be on-hand with a display called “The History of Station Wagons”, which showcases vehicles which may be out of vogue today but were often considered innovative if not technological marvels of their time.
The Gilmore Car Museum’s 1950 Skyline Deluxe Station Wagon at the Michigan International Auto Show. (WKTV/K.D. Norris)
“I always think it is very important for people to appreciate the new but also to look back and go ‘Mmmm? How did we get here?’,” Jay Follis, Gilmore Car Museum marketing director, said to WKTV on Jan. 29 at a media preview. “Today we have SUVs and crossovers. We do not think of station wagons. The auto industry has actually said ‘We are not going to produce sedans any more.’ So we decided we are going to bring station wagons to the auto show to tell people where we have been and how we got here.
The Gilmore Car Museum’s Jay Follis, marketing director. (WLTV/K.D. Norris)
“We’ve got a 1919, one of the first station wagons. It was nothing more than to pick you up at the train station. … all the way up to a muscle car that is actually a station wagon (and an Indy 500 pace car). … A lot of the cars we have on display here, and a lot more at the museum, have their own unique innovations.”
The presence of the Gilmore Care Museum is nothing new for the auto show, too.
“We come down to the car show every year, 15 years now,” Follis said. “Our mission is to evoke memories and tell great stories … We are only 50 miles south of Grand Rapids and we are North America’s largest auto museum. So this is a perfect place to introduce people to auto history and the car museum.”
The new cars on display by the Grand Rapids New Car Dealers Association will include spectrum of sedans, vans, hybrids and sports cars, but the field will be dominated by Sport Utility Vehicles (SUVs) and trucks, the two biggest sellers, according to the association.
One of the Million Dollar Motorway cars on display at the 2020 Michigan International Auto Show. (WKTV/K.D. Norris)
Among the highlights of this year’s auto show is the latest in automotive technology by Gentex, a Michigan based company which develops and manufactures “custom high-tech electronic products for the automotive, aerospace, and commercial fire protection industries.” Also returning, and always worth drooling over, is the Million Dollar Motorway, featuring luxury brand cars this year valued at $4.5 million collectively.
And, as shown during the media preview, some of the new technologies — and all the luxury brand cars — are nothing short of amazing.
The 22nd Annual Michigan International Auto Show will open to the pubic Thursday, Jan. 30 and run through Super Bowl Sunday, Feb. 2 — 11 a.m. to 9:30 p.m. Thursday-Saturday and 10 a.m. to 5 p.m. on Sunday (to be over in time for the big game, of course).
Thursday, Jan. 30 is also a special First Responders Day, with free admission for active EMS, fire, police, public safety, U.S. Coast Guard and other active military and retired veterans who can show valid I.D., badge or other verification.
Admission is $12 for adults and $5 for children 6-14. Kids 5 and under are admitted free.
There is parking beneath DeVos Place, across the street and nearby but connected by the skywalk. Be aware, though, of “Hamilton: An American Musical” also playing at DeVos. For more information on parking and directions visit here. You can also take the complimentary trolley by parking in the Dash Lot Area 9 (on Seward Avenue) for $2 and hop aboard the Trolley which will be making runs on an 8-minute loop for an hour before the show opens to an hour after the show closes each day.
Fruition photographed in Lisbon, Portugal, in October 2019. Fruition is Jay Cobb Anderson, Kellen Asebroek, Jeff Leonard, Mimi Naja and Tyler Thompson (drums). (Supplied/Jay Blakesberg)
By WKTV Staff ken@wktv.org
Fruition, the seemingly always busy Portland, Oregon band traversing the country and making a local stop this weekend, is clearly also busy recording new material — including songs which showcase why they are selling out so many of their shows.
After releasing Wild As The Night in late 2019, the band this last week announced is new 7-song EP titled Broken at the Break of Day, recorded in between tour dates in Fruition drummer Tyler Thompson’s newly constructed home studio.
Songs from both releases will undoubtedly be on the set list Sunday, Jan. 26, as the band, with opener The Mighty Pines, visit Grand Rapids’ Pyramid Scheme, with doors open at 6 p.m. show. Tickets are still available, visit here for more information.
About the new release, the band says that, as with its other music, “this collection of songs won’t fit into one box.”
Broken At The Break Of Day’s lead single, “Dawn” is already climbing on the Billboard Americana Tracks chart as is the collection on the Americana Album chart. For a video of “Dawn” visit here.
Broken at the Break of Day shines a light on all five members of the band — Jay Cobb Anderson (electric guitar, vocals), Kellen Asebroek (piano, acoustic guitar vocals), Jeff Leonard (bass), Mimi Naja (mandolin, electric guitar, vocals) and Thompson (drums). But “the songwriting and the harmonies tie their diverse influences together,” the band says in promotional material.
“This process was the quickest the band had ever written and recorded the songs,” Thompson said in supplied material. “All the songs obviously fit either a ‘day’ or ‘night’ theme, but the whole rehearsing and recording process had to be done in about half the amount of time we were used to. That time limitation leant to us not overthinking things, playing instinctually — and all live — in the studio with very minimal overdubs. All the songs are very different, but I think the speedy process naturally created some sonic congruency.”
“From a visibility standpoint, being able to release more music more often — even if it is in smaller doses — is ideal in the new frontier of digital music that we have found ourselves smack dab in the middle of,” Asebroek said, also in supplied material. “It’s nice to be able to stay on people’s radar, in an age where people have instant access to the whole of music history at their fingertips. It’s also nice to put these out together on vinyl as a nod to the way things once were.”
The band’s history, so the supplied story goes, starts in 2008 when Anderson tagged along with Asebroek and Naja for an afternoon of busking in Portland. Drawing on their string-band influences early on, they released their debut album Hawthorne Hoedown that same year. Thompson joined the band in 2011, shortly after hearing the band members singing together in a friend’s attic. Leonard came on board in 2015.
Broken at the Break of Day is the band’s tenth release, including EPs and LPs.
Fruition has opened shows for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, and appeared at festivals like Telluride Bluegrass, Bonnaroo, and DelFest.
If you are into binge watching the latest “hot” television show — say the award season darling “The Marvelous Mrs. Maisel”, or the much anticipated “Picard” — but still want to dig little deeper into the show, Fountain Street Church as an monthly series for you.
Fountain Street Church’s “FSC Screen Club” will continue its 2019/2020 Season, a series hosted at the Micro Cinema at Wealthy Theatre and in partnership with Grand Rapids Community Media Center, with a discussion of Ms. Maisel and her adventures on Monday, Jan. 13.
The FSC Screen Club meets one Monday each month, with the free to the public event starting at 6 p.m. Registration is encouraged, but not required, and can be done here.
Fountain Street Church’s Virginia Anzengruber hosts a panel discussion led by Wealthy Theatre director Sarah Nawrocki and, according to supplied information, features “regional influencers and film & television experts to dissect, analyze, and discuss some of today’s most thought-provoking TV shows.”
“Participants watch the shows at their own pace, on their own schedules. It’s like a book club that you can binge watch.”
The January event will focus on the Emmy Award-winning Amazon Prime series “The Marvelous Mrs. Maisel”, created by Amy Sherman-Palladino (“Gilmore Girls”), starring Rachel Brosnahan (“House of Cards”), Tony Shalhoub (“Monk”), and Alex Borstein (“Family Guy”).
“In 1958 New York, Midge Maisel’s life is on track — husband, kids, and elegant Yom Kippur dinners in their Upper West Side apartment,” as it is described in a media release. “But when her life takes a surprise turn, she has to quickly decide what else she’s good at — and going from housewife to stand-up comic is a wild choice to everyone but her.”
Star Trek Picard (promotional poster)
The remainder of the FCS Screen Club 2019/2020 season includes discussions as follows: Feb. 10, “The Good Place” (NBC); March 9, “Kidding” (Showtime); April 27, “Picard” (CBS All Access); and May 11, “What We Do In The Shadows” (FX).
All of which give you plenty of time to binge watch and catch up.
Fountain Street Church, located in downtown Grand Rapids, is an independent, pluralist church with a 150-year history of progressive action. for more information visit here.
