ICON 09 2014

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The intersection of art, entertainment, culture, opinion and mad genius

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EXCLUSIVE INTERVIEW IN THE KINGDOM OF FRIPP | 20 Certainly nothing but the complexity remains when discussing guitarist and progressive-everything avatar Robert Fripp’s King Crimson. Menacing. Sarcastic. Elegant. Rude. Uncompromising. Completely devoid of pop sensibilities. Pursuing lofty goals that extends its structures and melodies into jazz and classical music without losing its rockist edge. Loud. Quiet. Fripp-like.

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EDITORIAL Executive Editor Trina McKenna



City Beat | 5


Backstage | 5

Ruthann Friedman

Jim Delpino | 33

L. C. Cooke


Sally Friedman | 36

Loudon Wainwright III

Backstage & Jazz Scene Editor Bruce H. Klauber / drumalive@aol.com

Tom Russell

A THOUSAND WORDS Getaway | 7 David Lynch. Photo by Mark Berry.


ART EXHIBITIONS | 8 The Baum School of Art Artists of the Gallows Run The Quiet Life Gallery DAVID LYNCH AT PAFA | 9 PAUL CEZANNE | 10

FILM CINEMATTERS | 12 Frank KERESMAN ON FILM | 14 Magic in the Moonlight Paul Cezanne, Pommes Gateaux


The Loudermilks NICK’S PICKS | 28 L. Goldings, P. Bernstein, B. Stewart Barbara Morrison David Binney Walter Smith III KERESMAN ON DISC | 30 Wil Blades The Lovers Key Luke Winslow-King Albert Ayler Cedar Walton JAZZ LIBRARY | 32 Lee Morgan

DINING Paris Bistro & Jazz Café | 34 Matt’s Red Rooster | 37

BAD MOVIE | 16 The Expendables 3



Agenda | 39

L.A. Times Crossword | 38

DESIGN Designer Lauren Fiori Assistant Designer Kaitlyn Reed-Baker

City Beat Editor Thom Nickels / thomnickels1@aol.com Fine Arts Editors Edward Higgins Burton Wasserman Music Editors Nick Bewsey / nickbewsey@gmail.com Mark Keresman / shemp@hotmail.com Bob Perkins / bjazz5@aol.com Tom Wilk / tomwilk@rocketmail.com Food Editor Robert Gordon / rgordon33@verizon.net

CONTRIBUTING WRITERS A. D. Amorosi / divaland@aol.com Robert Beck / robert@robertbeck.net Jack Byer / jackbyer@verizon.net Peter Croatto / petecroatto@yahoo.com James P. Delpino / JDelpino@aol.com Sally Friedman / pinegander@aol.com Geoff Gehman / geoffgehman@verizon.net George O.Miller / gomiller@travelsdujour.com R. Kurt Osenlund / rkurtosenlund@gmail.com

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REEL NEWS | 22 Chef Ida

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ON THE COVER: King Crimson. Page 20.

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City Beat






Renaming a park after a politician is small potatoes compared to what Philly’s own 10term U.S. Congressman Chaka Fattah has done to 30th Street Station. Fattah has succeeded in getting the US House and Senate to rename the station the William H. Gray III 30th Street Station. What’s so bad about a station named Gray? The truth is that the legacies of (deceased) politicians are all too soon swallowed up by current events, or new political figures on the scene. The public’s political collective memory is also short. Many younger Philadelphians, for instance, remember a man named Bill Clinton, but not Gray. The station name change is about as popular as Obamacare is among Tea Party members. People absolutely loathe the idea except for a few souls who have City Hall connections. U.S. Congressman Gray was the first African American House Budget Chairman and Majority Whip (1989) and the third ranking Democrat in the House. He also helped create the United Negro College Fund (“A mind is a terrible thing to waste”), but do these honors warrant 30th Street being renamed in his honor? In an interview we conducted with Frank Rizzo, the former mayor touched on Bill Gray’s legacy when he whispered, “You know, the married man has a mistress.” We dismissed this as gossip because a politician’s sex life should not be an issue for his constituency unless it’s so out of bounds as to make the sex lives of the Roman Emperors appear saintly. During Bill Clinton’s impeachment, we supported Clinton’s lie that he never had sex with that woman because we believed that the “Did you” question had no right to be asked. Consider the odd notion—let’s get adult for a moment—that oral sex isn’t really sex, and you get a sense of where Clinton might have been coming from. The “it’s not sex” mantra has been popular for years, especially among some Christian fundamentalists who see it not involving the missionary position. Our first exposure to the “it’s not sex” phenomenon was when a friend, a liberal Unitarian girl, dated a guy who loved to preach to the gays he knew at work that what they did was not good in the eyes of God while what he did (premarital oral), made God smile. The big mark against Gray is that he allowed a choir director at Bright Hope Baptist Church, where he was pastor, to continue working despite accusations that he raped two underage girls and was involved with four other underage girls. Gray permitted the choir director to continue at Bright Hope despite the fact that he was out on bail. Can you imagine the uproar if 30th Street Station were renamed for a Catholic bishop who had such a cavalier attitude toward the priests in his diocese accused of sexual abuse?

When the subject of memorable Philadelphia mayors comes up for discussion, three names immediately come to mind: Frank Rizzo for his larger-than-life flamboyance and bluster, Ed Rendell for, many believe, revitalizing the city; and Richardson Dilworth, the 91st mayor of Philadelphia, who served from 1956 to 1962. Rizzo and Rendell have been written about extensively, but there was little or nothing out there on Dilworth until now. One-time Philadelphia Evening Bulletin and Inquirer reporter Jon Binzen, now living on the Main Line, has written—along with his son, Jonathan—Richardson Dilworth: Last of the Bare Knuckled Aristocrats (Camino Books), based on six hours of interviews he conducted with Dilworth in 1972. The book took ten years to write, and what emerges is a superb portrait of a man who was alternately a tough guy, a politician and a reformer who was responsible for, among other things, transforming Society Hill from a slum to one of the most desirable neighborhoods in the city, in helping found SEPTA as a publicly owned company, and most controversial of all, his strong belief in low-income public housing. Well worth reading. Amazon.com.

At a friend’s fun filled two-free-drinks-for-everyone birthday celebration in a CC bar, we noticed that a band was taking song suggestions. Most guests requested Billy Joel songs while we put in for Lou Reed’s Walk on the Wild Side. Would the twenty-something band even know who Reed was? After 55 minutes of The Ballad of Billy the Kid, Captain Jack, and Tell Her About It, there was still no “Little Joe never once gave it away,” so we passed reminder suggestions to the pianist (she nodded a cursory thanks). Hopes that we had nailed the song were pushed aside by Sir Elton John’s Someone Saved My Life Tonight, and Neil Diamond’s Crunchy Granola Suite. Throwing in the towel, we headed to the Curtis Institute to hear a Young Artists Concert, or child geniuses playing J.S. Bach, Chopin, Liszt and Schubert at the piano. Eight of the nine kids were Asian, in keeping with the Philadelphia Young Pianists’ Academy philosophy: to offer exciting opportunities for young pianists from Asia and the West to meet. I Huang, from Taiwan, the first onstage, proved to be a technical master, even if he made us think of a robot. Would little I Huang, like Chinese writer Kim Wong Keltner, one day reminisce about all the hours of homework and grueling afternoons of practicing arpeggios on the piano? Would he come to lament the “four hours of Chinese school after regular school, Chinese calligraphy lessons with the stiff brush and stinky ink, after the chores, basketball practice and memorization of Chinese poems,” so



Journalist Thom Nickels’ books include Philadelphia Architecture, Tropic of Libra, Out in History and Spore. He is the recipient of the 2005 Philadelphia AIA Lewis Mumford Architecture Journalism Award. thomnickels.blogspot.com

The Philadelphia Film Festival, presented by the non-profit Philadelphia Film Society, has been around since 1992, making it one of the longest-running fests of its kind in the city. The festival is, as the Society describes it, “An outstanding showcase of cinematic excellence and imagination,” which will feature over 100 films with more than 50 filmmakers. In addition to the screenings, the event will feature industry panels, director Q & A sessions, special event screenings and networking opportunities. This event, running from October 16 to October 26, has always been heavily attended, so it’s best to get tickets now. filmadelphia.org. In terms of polls and their relevance, this one ranks up there as most relevant of all: The Princeton Review has come out with its annual list of “best partying colleges,” and lo and behold, three institutions of higher learning in this region made the list. Lehigh University ranked number six, Penn State rated a seven, and Bucknell ranked number 9. For those who must know, Syracuse University was the winner. No info given on how this all-important poll was conducted. The Kimmel Center seeks big bucks. Big bucks. Kimmel’s just-launched fund-raising drive has a goal of “well north of $100 million,” says President Anne Ewers. This means going after corporate dollars rather than individuals, however generous the individuals might be. One way to do that, Ewers explains, is “to give big corporations the chance to have the company names on certain performance facilities,” called, in the business, “naming opportunities.” A “McDonald’s Verizon Hall”? Could be. If political desperation is your thing, you’ll love the fact that Sarah Palin has just launched her own info channel. The channel is not on radio, or network television or on cable. Not even on UHF. It’s on the Internet, and those interested in things like this can ante up the grand sum of $9.95 per month to listen to someone that even detractors say “is fascinating to observe.” CNN political correspondent Tom Foreman summed up the Palin-infochannel story nicely. “Palin had her moment in the political sun,” he said, “and since then she’s pretty much been just another cable-channel chatterbox.” But Tom, it’s only $9.95. Here’s some great news for a certain segment of, shall we say, the entertainment industry: For the second time, the Michael Nutter administration has lost a bid to tax the gratuities that, er, exotic dancers receive for, er, lap dancing. It’s been estimated that if this were to be instituted, somewhere in the neighborhood of $1.5 million would have to be shelled



Bruce Klauber is a published author/biographer, producer of DVDs for Warner Bros., CD producer for Fresh Sound Records, and a working jazz drummer. He graduated from Temple University and holds an Honorary Doctorate from Combs College of Music.

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that, like Keltner, he’d want to break free so as to be able to “feel known for myself, not just my accomplishments…?” Sitting at Rouge on the Square might be described as an ideal summer’s evening. The hours we spent there with friend Connie revealed tantalizing scenes: Nursing-home-age women in huge blow-dry platinum blonde wigs (think Linda Evans in Dynasty); leggy (and giggly) Paris Hilton clones stepping out of luxury sedans in anticipation of Rouge’s specialty fruit drinks (where were their size 40 waist sugar daddies?); a young Port Richmond couple on their first beer-less date: she sipping wine while he gulped “Giggly Girl” cocktails and sampled Brie. They played their parts well till it was time to leave at which point the guy began scratching his butt in vigorous construction worker strokes. Rouge, it is said, is a melting pot for real and imitation romance (the Square’s most notorious pickup place, some say), even if the poured wine there never goes beyond a low-on-the-glass demarcation line tattooed on the glass like yellow Police Caution tape. The Rouge Line, of course, reminds bartenders to ignore all those generous, random pouring impulses. Center City is now one big art gallery, as evidenced by the 75 miniature panel paintings we saw arranged along Chestnut Street near 16th. The artist, a bandana on her head, sat on a piece of cardboard and waited for buyers. Fifty feet away another artist hammered away at jewelry, miniature sculptures, key chains, necklaces, bracelets and tiny abstracts. His twin, a boy so skinny you thought of a Mother Teresa hospice, shouted to passersby: “Get your art.” Who or what gave him the confidence to state emphatically that what he makes is art? Why not boardwalk trinkets? Do real (and imagined) artists ever experience self-doubt, or is it all about the mechanics of positive thinking? This got us thinking that artists should never marry other artists, but opt for accountants or businesspeople. Just ask Arleen Olsham and Linda Slodki, the married couple and founders of the Mount Airy Art Garage (11 West Mt. Airy Avenue). The Art Garage features individual rental studios and exhibition space for a wide variety of activities: revolving exhibits, poetry slams, dances, workshops and lectures. Slodki, the businesswoman, looks every bit the part—she’s even got a Susan Sontag streak of gray in her hair. On September 20, the Garage will celebrate its 5th anniversary with live music, dancing, food and beverages. Area residents, many of whom call the couple “Jewish saints,” are earmarking the date. Catching The Book of Mormon at the Forrest Theatre brought to mind the time we invited two Mormon missionary elders in for lemonade. The very polite, civil chat went nowhere—nobody broke into song or a chorus line. In return for their gift of a Book of Mormon, we offered them a copy of Walking on Water, a novella about a young desert island monk fighting sexual urges. “We’ll read yours if you read ours,” was our message to the elders. We never saw the boys again, but years later, after publishing an article on the new Philly Mormon temple, a grateful Mormon bishop called with an invitation to lunch. This was no Midtown II diner experience but a white linen tablecloth McCormick & Schmick’s affair, complete with a cake dessert as high as the temple in Salt Lake City. All of this makes us wonder how our love affair with all these nice Mormons will end. Should I Stay or Should I Go?—an exhibit at the Gross McCleaf Gallery—was a pale horse compared to Sean Murray’s Twenty-Two Gallery at 21st and Locust. Nadia Kunz, a board member of Da Vinci Art Alliance Gallery (704 Catharine Street), suggested we head over to Twenty-Two, and we’re glad we did. We talked with West Chester exhibiting artist David Katz (who said that the West Chester gallery scene was much friendlier than Philly’s) and met artist Daniel Tiago and E-Moderne Gallerie owner, Edward Fong, recently new to the city. Twenty-Two made us forget some of the outer limit concoctions that pass for art— abstractions that signify nothing but that always come with a lengthy “Statements of Intent,” or those pop paintings depicting cultural minutia, like the one we saw at Gross McCleaf of crumbled up candy wrappers. Can a person “die” to friends once they cement themselves in the right relationship? Would that death be comparable to a real death in a car crash? We lost two friends recently to profound relationships, after we were filtered away along with other people who came before. Is “couple love” only about attaining more and more intimate moments? Does it always have to involve closing off the world because of a perceived notion that the closure is somehow protecting the couple’s happiness? Immortal Uncommon Resale on 125 South 18th Street announces that it is closing its doors forever. Caren Kreider, Immortal’s style professional, wishes she has other news but the facts stand: shoppers will now have to pay full price in the big markup stores for Prada, Manolo, designer handbags, Gucci loafers and 1970s YSL wool skirts. ■

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out by three of the city’s biggest strip clubs. The fact is, these clubs already pay an amusement tax on entrance fees, but the city maintained that the lap dances were, er, “a separate amusement.” That’s one way of putting it. A few years ago, Philadelphia magazine published a story about the city’s two, free, “alternative weekly” newspapers, City Paper and Philadelphia Weekly. The gist of the story was that Philadelphia could not support two weeklies and that eventually, one would go belly up. While the recent purchase of City Paper by Metro, the geared-toward-commuters daily, does not necessarily mean the end of City Paper—in fact, the official statement from Metro says that City Paper will continue to publish independently—bets are being taken that the alternative weekly won’t last. Bruce Schimmel, who founded City Paper in 1981 and sold it in 1996, checked in with Backstage with his belief that the paper will continue, because it could now benefit from sharing expenses with Metro on printing and distribution. Jennifer Clark, Metro sales director and now City Paper associate publisher, confirmed that there have already been City Paper layoffs, but commented, “The two newspapers will continue to remain separate for the foreseeable future.” Here’s hoping City Paper continues—it’s better written and more literate than its competitor. The baseball season may be heading toward the home stretch, and the home team hasn’t made out as well as fans would have liked. But the exhibit running through October 26 at the National Museum of Jewish History—Chasing Dreams: Baseball & Becoming American—is a clear winner. On display at the Museum are over 130 baseball-related objects that have rarely been put on public view, including uniforms worn by Sandy Koufax and Jackie Robinson, the original sheet music to “Take Me Out to the Ball Game,” and more. The Museum will also be regularly screening two great films about America’s pastime, a documentary on Hank Greenberg, and The Sandlot. Chasingdreams.nmajh.org. Some public figures just won’t go away. Even if they’re dead. A case in point is the web rebirth of Richard Nixon. Someone calling himself “Dick Nixon” has more than 8,000 followers on Twitter, and this “Tricky Dick” seems to have opinions on everything from Hilary Rodham Clinton to which Kennedy had the best political skills. Evidently, the Twitter Nixon is a New York-based playwright named Justin Sherin, now age 33. Then again, is this the “real” Justin Sherin?


Atlantic City’s Borgata Hotel, Casino & Spa is one of the few hotel/casinos doing decent business. One of the reasons, perhaps, is that they book the biggest names in entertainment—names that span generations-- yearround. For example, here are some just-announced new bookings: Foreigner checks in on October 3 and 4, Frankie Valli on October 10 and 12, Amy Schumer on October 11, Joan Rivers on November 22, and the ageless Tony Bennett on November 28. theborgata.com. The Golden Nugget knows that a good portion of their audience is in the “mature” category. Nugget bookers are aware that there are still a lot of Borscht Belt fans out there, so why not book some real Borscht Belters? Well, they’re coming to The Nugget in the form of a show that’s been touring the country called “Friar’s Comedians.” The show’s title comes from the venerable, 100-plus-year-old New York private club that has had just about every comedy legend as a member. Four veteran Friars members are coming to the Nugget on September 27 and 28, and watch out—though they may be ancient, they remain hilarious The stars are the under-rated comic and character actor Sal Richards, once a mainstay in A.C. casinos; malaprop master Norm Crosby, now 86; and Stewie Stone. goldennugget.com. Finally, it seems that a bit of editorializing may be in order, given the closings of three more Atlantic City casino/hotels. I’ve been on the casino beat—as a journalist, columnist and entertainer—since the day Resorts International opened on May 26, 1978. I grew up, like many “Backstage” readers, seeing Gene Krupa on The Steel Pier and having dinner with the family at Hackney’s or Captain Starn’s at the inlet. Many of us in and out of the business—and all of those who loved the city—thought legalized gaming would save what was then a crumbling resort. It did. For a while. Times have changed and so has the casino gaming business. While the closing of the casinos is a terrible shame, the upside is that Atlantic City is now in the position of being forced to reinvent itself as a year-round, familyfriendly resort. Steve Wynn did it in Vegas more than 20 years ago. Rest assured that it can, and will, happen here. ■



A Thousand Words




HE BAR WHERE I got served for the first time was a side room in an old country hotel run by a cheerless, elderly, German woman. She had a barely-socialized weimaraner named Wotan that would poke around for stray peanuts between the customer’s ankles. Despite being frail and walking with a limp the old girl was able to maintain discipline through the use of menacing eye contact. She would have made a good nun. That doesn’t mean you couldn’t enjoy yourself, especially toward the end of the evening when a fondness for beer eroded her stern demeanor. It was in that dark, knotty pine sanctuary that I saw a man deliver an extraordinary performance of “Ya Got Trouble” from The Music Man, strutting along the top of the bar deftly avoiding the drinks and ketchup bottles, in full voice and animation as his mates chanted, “Trouble, trouble, trouble...” A few decades later, I watched a bartender at another watering hole grab a sawedoff pool cue and go after a guy who had suggested something racially provocative. Two patrons eventually got between them and kept it off the front page. It, too, was a memorable occasion. Anything can happen in dive bars. It’s a service they provide. Dives are places where you go to get away from things. They offer a seat and a drink, with few demands. Like a bulky sweater that hasn’t been washed in a while—comfortable but not appropriate in good light or polite company. A lot of the dive bars in the area around New Hope have succumbed to gentrification. Some have been upgraded and others have made way for entirely different establishments. You

Robert Beck maintains a gallery in Lambertville, NJ. His annual exhibition, Open Road, Opens October 25. Robert can be contacted at robert@robertbeck.net.

have to drive farther to get to one and worry about getting back home afterward. That puts limits on your intake and restricts freedom of expression, which not only defeats the purpose but is patently un-American. While there are commonalities among these places, my considerable experience is that they have personalities as distinct as their elevated cousins. My mind immediately flashes to the extensive display of animal penises from around the world that hung on the wall of Mason’s Bar in Lambertville. Giraffe, wildebeest, horse and many more, all arranged in curatorial balance, with a couple of smaller specimens labeled Karl and Harry. Apple Jacks in Point Pleasant is a classic country dive bar. It was sold recently, and despite assurances to the contrary it’s a good bet things will change. Hell, a good cleaning would be a big change. I went to paint there while it was still its legendary self and have to say I was quite taken by the authenticity. Institutions like AJ’s have ghosts of all flavors, and stories that go back to black and white. I didn’t go in the evening when the energy level is in top gear but rather the afternoon when it was still blinking and scratching from the night before. The entire room squinted at the light coming in the windows. Two guys at the bar occupied the only stools still in shadow. General Hospital was on the TV. A string of red Christmas lights were hung over the bar to dress things up. I introduced myself and asked the barkeep if I could do a painting. She called the boss on her phone. “There’s this guy here who wants to paint in the bar.” She looked up at me. “What did you say your name was?” I told her again. I could see it made no impression. I should have said Andrew Wyeth. She talked on the phone while I made a quick assessment of my options, anticipating the next question. “Where you want to do it?” “Over there by the window,” I decided. She relayed that to the boss and then turned back to me. “If somebody wants to play pool you‘ll have to move.” I agreed. There wasn’t much chance that would happen in the next three hours and once I set up I had squatter’s rights, so I wasn’t concerned. Not that anything is ever for sure in a situation like this. It’s best to just keep things moving forward. My painting was composed with the idea of putting a person at the left for balance, but nobody showed up and I finished without one. That nagged me. When I got back to my studio I set up a mirror and painted myself in position as if I was playing darts. I fit right in. I always did. ■ Editor: On October 18, Philadelphia Sketch Club’s 150th Anniversary Gala will honor Elizabeth Osbourne, Robert Beck and Moe Booker. Medal presentation, live art auction, silent auction, cocktails, buffet, music. 7-midnight. 215-545-9298. sketchclub.org

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“Harvest Moonrise,” 11” x 14”

Bob Noonan, “It’s All so Fragile and Yet Resilient” Oil, 42” x 42”

6TH ANNUAL ART FOR CONSERVATION Artists of the Gallows Run Sell Art to Conserve Land Opening reception: Friday, Oct. 10, 5-8pm, continuing Sat. and Sun. 2-5pm Rising Sun Farm, 207 Church Hill Road Kintnersville, PA 18930 “#5” (1985), oil on canvas, 36” x 24”

FULL CIRCLE: RUDY S. ACKERMAN, A RETROSPECTIVE The Baum School of Art, 10 Linden St., Allentown www.baumschool.org September 17-October 18, 2014 Opening Reception: 9/17, 6:00-8:00pm An exhibition of paintings, printmaking, and sculptures that spans Ackerman’s 50-year career at the Baum School and in the arts. Ann Lalik, Gallery Director and Arts Coordinator at Penn State Lehigh Valley, and the daughter of Rudy Ackerman, is guest curator. Over the last 50 years, Ackerman has completed numerous prints and oil paintings, which will be on display; however, he is primarily known for his sculptural pieces. The opening reception will include wine and light fare. Ackerman will also be the honored guest at The Baum School of Art’s Annual Gala held on Saturday, October 18, 2014. Exhibition Sponsors: Gregory D. Kirk, The David E. Rodale and Rodale Family Galleries.

For a 6th consecutive year, Artists of the Gallows Run will transform the iconic barn of Rising Sun Farm into a gallery of exceptional works of art, capturing the unique beauty of Upper Bucks County in a variety of media, including painting, photography, prints and sculpture. Meet the artists, listen to live music, bid on silent auction items and purchase original artwork. Fifty percent of profit from sales are donated by the artists to support land conservation efforts in Nockamixon Township. The Artists of the Gallows Run are: Alana Balogh, Bill Brokaw, John Mark Courtney, Joe Danciger, Linda Jenny, Pat Martin, Pat McCutcheon, Paul McGinn, Sharon Mendelson, Carolyn Mercatante, David Minka, Robert Noonan, R. Woolston Rapp, Karl Schwartz, Reinhold Schwenk, Steve Sears and Todd Stone. This year Palisades High School students will be invited to enter in a juried competition, which is designed to encourage young artists to express themselves and connect with the local art community. Sponsors are The Gallows Run Watershed Association, Heritage Conservancy, Nockamixon Open Space Committee, Palisades School District, and participating local businesses.

SUSAN BLUBAUGH: RE-IMAGINING HUNTERDON & BUCKS The Quiet Life Gallery 17 So. Main St., Lambertville, NJ 609-397-0880 www.quietlifegallery.com Open Wednesday - Sunday Through September 13 Painting rural and Delaware River scenes in all seasons, studying and re-interpreting light, color and time of day, Susan’s work shows particular sensitivity to the changes from month to month, year to year in this part of the Delaware Valley. Her serene paintings show a study of natural and man-made features that catch and reflect light and color in a compelling way. Blubaugh often re-visits the same locations to record varying effects and elements including snow, the disappearance of structures, fallen trees, overgrowth and erosion. The result is a collection of work, all painted in oil on linen, including still life paintings and a record of the past year’s observations of the subtle beauty of the local landscape. Susan Blubaugh has been painting landscapes, still life paintings, and the occasional portrait in Bucks County, PA and Hunterdon County, NJ since 2001. She started her career as a painter and illustrator in NYC, studying at the Art Students League and the National Academy of Design with many great painters, including Isaac Soyer, Harvey Dinnerstein, Burton Silverman, Hilary Holmes, and Curt Hanson, who says about Susan’s work: “Her drawing ability is impeccable and the paintings always reflect a freshness only gotten by firsthand observations. Many artists have shorthand methods that produce flashy effects that often hide their lack of ability. With Susan, I always see a patient seeking of visual truth that is imbued with the excitement of honest discovery.”

“First of November,” 24” x 30” “Dynamic Circle” (1974), ink, 12” x 12”

Reinhold Schwenk, "L'origin du Monde" 20” x 20” oil on canvas

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David Lynch, “Pete Goes to His Girlfriend's House,” 2009, Mixed media on cardboard, 72 x 108 in., Courtesy of the artist

David Lynch

AN ARTIST OF MULTIPLE talents, David Lynch is a serious painter as well as a highly regarded film and TV director. But, regardless of whatever medium he is into at any given moment, his ultimate gift consists of probing deeply into a world of moody perceptions and then giving expression to them in a unique vocabulary, potent with feelings of foreboding. Born in Missoula, Montana in 1946, Lynch later traveled with his family to various other locations, throughout the country. After high school, he went to study at the Pennsylvania Academy of the Fine Arts in Philadelphia during 1966 and 1967. His attendance there brought him into contact Dr. Wasserman is a professor emeritus of Art at Rowan University, and a serious artist of long standing.

with such inspiring teachers as Leon Kelly, Elizabeth Osborne and Hobson Pittman. He also became friendly with fellow students who eventually rose to prominence in the local art community as the late Murray Dessner, James Havard, Bruce Samuelson, Christine McGinnis and her husband, the distinguished art dealer, Rodger LaPelle. In 1970, Lynch moved to Los Angeles to study film making. In due course, he became famous for directing such movies as The Elephant Man and Blue Velvet. However, he also continued to work and exhibit, at home and abroad, as a solo-studio artist.



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Paul Cezanne

THINKING ABOUT CEZANNE BRINGS certain images to mind: his garden in Aix-enProvence, numerous views of Mount Saint Victoria, card players, bathers, portraits and, perhaps most of all, apples. Every first-year art student knows Cezanne’s credo: “Treat nature by the cylinder, the sphere, and the cone.” But what he could do to the apple! Now the Barnes Foundation which houses this country’s greatest collection of Cezanne (it owns 69 of his paintings) has assembled even more for The World Is an Apple: The Still Lifes of Paul Cezanne, set to run through September 22. This small (21) but select grouping of still lifes comes from around the world and up the street. There are images from Budapest, Baden, Paris, Washington, Detroit, New York, private collections and the Philadelphia Museum of Art. Although the show is built around apples, there are still lifes of flowers, skulls. Cezanne famously said, “I want to astound Paris with an apple.” Today it’s hard to imagine that he was rejected by the salon showings in the mid-1800s, but success did not come at all easily to Cezanne. He’s often labeled a post-Impressionist and, indeed, came into his own late in the century. Born in 1839, he died in 1906. “This is the first Cezanne exhibition in our new exhibition space,” said Judith Dolkart, the Barnes’ chief curator. “It is particularly exciting to have this rare opportunity to consider the 16 Cezanne still lifes in the Barnes Foundation’s permanent collection in a fresh, new light—in the context of the exceptional grouping of loaned masterpieces presented in the show.” In fact, one of the paintings listed as coming from a private collection, “Pitcher, Fruit on Table” from 1893-1895, was once owned by Barnes then sold to buy another Cezanne. This has resided in a private collection for some time and, rather than feeling it’s just another still life of fruit, the viewer sees it as a fresh example of his geEdward Higgins is a member of The Association Internationale Des Critiques d’Art.

The Kitchen Table.

nius. We feel the pitcher holding a fresh cool drink Peach or apple, we are seeing the beginnings of Cubism, one of the more celebrated art fashions of all time. That’s backed up by Matisse and Picasso who proclaimed Cezanne “father of us all.” All of Cezanne’s fruit has what art historian Bernard Berenson called “the tactile quality,” meaning that you can all but feel its touch and taste its sweetness. Perhaps you’re not a fan of Cezanne’s portraits (many are not) and you’ve had it with Mount Victoria. Nonetheless, still lifes will capture you with the sheer magic of his brushstrokes and his closeness to nature. It was by painting his garden that the world outside began to see abstraction and the very beginnings of 20th century art. This exhibition does, in fact, complement the Barnes’ permanent collection and the impact is to rush through the collection to see the other Cezannes. I doubt this would happen with Renoir as the acres of pink flesh that he contributes to the Barnes fast becomes a bit icky. Cezanne believed that each painting was a slice in time and, therefore, saw each still life, landscape, and flower arrangement differently. He had no qualms about often painting the same scene with only slight variations. The exhibition was curated by Benedict Luca of the Art Gallery of Hamilton, Ontario. It will be supported by a number of public programs hosted by the Barnes, including a French cabaret on September 5, a cider tasting on the 19th and a lecture and tasting on the 21st. It’s a symptom of his confidence that after so much rejection he continued on until the audience and the art world caught up with him. He used the everyday, the ordinary, the bourgeois lifestyle as his raw material. He once said, “[People] think a sugar pot doesn’t have a face, a soul. One needs to know how to apprehend, to coax these, gentlemen…These glasses, these plates, they converse among themselves.” With the ordinary, Cezanne was able to use his talent to revolutionize art to the point that he kept his word. He did astound Paris with an apple. ■ Barnes Foundation, 2025 Benjamin Franklin Pkwy, Philadelphia (215) 278-7200 www.barnesfoundation.org

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TO START WITH, FRANK has got the wrong protagonist. A movie about an avant-garde rock band—think Brian Wilson’s fragile genius meets Steely Dan’s slipperiness mixed with sonic rawness—fronted by a troubled loner wearing a giant Bob’s Big Boy head should not have that trouble. Yet the title character is one part of Frank’s vibrant and expansive weirdness, which turns isolating and elusive. We get thrown in circles, offered morsels of kook, and then spun around again. When the film finally revealed its spirit, I wondered why director Lenny Abrahamson played coy for so long. Young office drone and aspiring British musician Jon Burroughs (Domhnall Gleeson, About Time) sees the world in music, composing lyrics based on the people he sees on his walk home. His bedroom is lined with mix tapes and ticket stubs from concerts. However, there are no tangible signs of success, though an interesting opportunity arises. As Jon slogs through another workday lunch—which he tweets about to approximately no one—a man tries to drown himself in the ocean. He does this in full view of his bandmates in Soronprfbs (the band’s unpronounceable name), which now needs a keyboard player. Jon volunteers to play a gig, which starts off promisingly until the electrocution. He ignores this clear sign to resume inhabiting cubicle space and agrees to record


Frank an album in a remote Irish cottage. A presumably quick gig becomes an 11-month dissent into Pet Sounds at Big Pink weirdness before Jon, who has been Tweeting and posting band footage on YouTube, makes a publicity push he thinks everyone wants. Governed by the perfect music that plays in his (real) head, Frank (Michael Fassbender) runs these sessions with idiosyncratic zeal. His reputation as a genius is a fact in the same way that death is. Jon follows along, even if the other members, especially Frank’s surly sidekick, Clara (Maggie Gyllenhaal), actively hate him. Since Jon is the ordinary guy in this pack of misfits, the movie’s action goes through him. The issue isn’t that everyone in the band is more interesting than Jon. Abrahamson and writers Jon Ronson and Peter Straughan fail to expand on the characters beyond their quirks. Frank, who is based on comedian Chris Sievey’s Frank Sidebottom persona with dashes of Captain Beefheart and Daniel Johnston thrown in, is inscrutable to the point of frustration. He’s frozen as a musical savant. We don’t succumb to the seduction of his talent. Frank feels incomplete and jagged, as if Abrahamson and his screenwriters are squeezing puzzle pieces together that don’t quite fit. And there are lots of pieces: Jon being overwhelmed by this new setting, the band’s growing rancor

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(highlighted by Gyllenhaal) over Jon’s presence; Frank’s delicate genius; Jon’s foolish notion that the band needs to hit it big, when it’s only a haven for their members. (The mainstream would destroy these wobbly souls.) Jon’s cheerful avarice is a nice touch—as is the fact that he’s the outsider in this motley crew. But like every other creative stroke in Frank, it seems like it’s shoved onscreen before anyone knows how fits into the larger story. The performers get lost in the identity crisis vacuum. It’s a shame, because I got giddy whenever I heard Fassbender’s sing-songy camp counselor voice or saw Gyllenhaal’s hostile spin on movie dames from the 1930s and 1940s. A good movie answers your questions about its intentions and machinations. Frank keeps posing them, daring us to throw up our hands in defeat. Eventually, I did though I felt bad doing that. Something lovely and lyrical emerges— way too late for our patience’s sake. [R] ■

An ICON contributor since 2006, Pete Croatto also writes movie reviews for The Weekender. His work has appeared in The New York Times, Broadway.com, Grantland, Philadelphia, Publishers Weekly, and many other publications. Follow him on Twitter, @PeteCroatto.

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Keresman on Film


Colin Firth and Emma Stone.

Magic in the Moonlight AFTER THE HARROWING A Streetcar Named Desirelike seriousness of Blue Jasmine, Woody Allen serves up an entertaining, old school romantic comedy with Magic in the Moonlight. It’s yet another variation on the “uptight/coldly logical guy gets shown how to enjoy life via the intervention of a zany, unpredictable female” trope. Colin Firth is Stanley, a stage magician and famous debunker of the supernatural. He’s cynical, sarcastic, a stereotype of the supercilious Englishman, and aware that he’s almost always the smartest guy in the room. He’s asked by a friend to intercede in what looks like a scam: Willowy and charming Sophie (Emma Stone) claims to be a psychic who can communicate with Those Who Are Real, Real Gone (as in deceased) and a wealthy family in the south of France seems to be her next target. To the surprise of no one over the age of 28, Stanley, despite himself, falls in love with the very lady he sets out to unmask as a charlatan. Bet you couldn’t see that coming, right?

But it works, so it’s OK. Firth is roguishly charming as the disparaging, somewhat smug, contemptuous-of-nearlyeveryone, cold Voice of Reason. Stone mixes an appearance of wide-eyed innocence and subdued confidence as the resilient Sophie—she weathers Stanley’s slings and arrows with grace and subtle humor. Set in the late 1920s, Allen presents the European side of the Jazz Age—classy cars and, to the surprise of no one, the soundtrack is almost entirely small-group hot jazz from that era. While I love that style of jazz, it’s sometimes ill-used in the context of the film— there’s this fast-tempo, hot swing tune playing in scenes that are relatively mellow, reflective, or transitional. It’s as if Woody couldn’t find any slower tunes to suit the scene. But for the most part, Magic evokes the classic Cary Grant romantic comedies of the pre-1960s—in fact, one scene may be a homage to the Grant/Grace Kelly classic To Catch A Thief—a suave guy who should know better is smitten by a lady who is full of merde…or is she? In fact, Stanley

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is another “substitute” for Allen—he disparages religion and the supernatural in a manner that evokes, well, the young Allen, before he wanted to be Ingmar Bergman. The tone is light and breezy but it never comes off as fluff, and the look of the movie is captivating in terms of capturing the opulence of the period. Firth’s Stanley gets off some fine zingers aimed at, well, nearly everyone that isn’t him. Marcia Gay Harden appears for maybe five or so minutes. Stone combines ditsy-ness and confidence for her medium. Woody’s direction and pacing is sharp and swift—there are almost no dull or wasted moments. Magic in the Moonlight is a movie that is indeed rare—a semi-sweet romantic comedy that doesn’t insult the audience’s intelligence. ■ Mark Keresman also writes for SF Weekly, East Bay Express, Pittsburgh City Paper, Paste, Jazz Review, downBeat, and the Manhattan Resident.

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Bad Movie


ETURN WITH US now to those thrilling days of yesteryear when beefy guys would go up against third world dictators, renegade spies, communist leftovers, terrorists, and what-not armed with one gun (that never runs out of bullets) and grenades made with cans of shaving cream, a box of baking soda, and a book of matches. Willis, Stallone, Schwarzenegger, Dolph Lundgren, and other hunks of beefcake kept the world safe from assorted miscreants. But even tough guys get old, and that’s part of the appeal of The Expendables series of “films”—guys that kicked ass in the 1970s through the ‘90s can’t mix it up and knock ‘em down like they used to. So we get plenty of jokes about age, we-ain’t-what-we-used-to-but-we-can-still-show‘em scenes and jokes. There is a certain humor in seeing these seemingly invincible heroes pained with the ravages of age that eventually get to us all. But as someone once observed, there’s only so many


The Expendables 3 bullets in that gun. The third Expendables is basically running on fumes (in more ways than one)—many of our “heroes” as portrayed by Lundgren, Gov. AH-nuld, Sylvester Stallone, Jason Statham, Wesley Snipes, Mel Gibson, Antonio Banderas, Harrison Ford, Jet Li, and B-movie king Robert Davi are barely in it. It seems the producers decided to bring in some new blood, as was done with Saved By The Bell: The Next Generation. The problem is, we came to see the old guys. A chunk of the movie is devoted to “recruiting” these young guns. Who are these interchangeable whippersnappers, anyway? I’m surprised Shia Le Beoufe couldn’t make it to the party. But hey, this isn’t David Mamet, this is an action movie, right? However, even action fans will likely be disappointed, as this is not an R-rated movie—to soften it for a wider audience, the action is toned-down, more reminiscent of MTV videos and The A-Team TV show as opposed to head-exploding-ly over-the-top ultra-violence. And this is

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one of those movies with so many lightning-fast quick/rapid cuts and edits that it’s often difficult to see who is bashing and/or killing whom…or even care. Besides, if you, Dear Reader, are over the age of 26 and have seen many action movies, there’s nothing you’ve not seen many times before. Further, what’s the point of this Army of Hollywood Talent going up against an enemy that’s basically brainless and over-matched? There’s no real tension—it’s like on the 1950s Superman TV show, where the Son of Krypton (you know, super-strong, bullet-proof, etc.) fights regular garden-variety crooks and thugs. Factor in cringe-worthy dialog (almost as bad as Batman & Robin), indifferent acting (Stallone simply looks tired in much of this), under-used actors, and explosion-after-explosion, and you’ve got a movie that even Michael Bay wouldn’t want his name on… okay, maybe as a producer’s credit. ■

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Film Roundup


Jonah Hill and Channing Tatum.

EVERY MONTH I REVIEW a collection of movies you’ll find at the local art house, which is a task I adore yet comes with a not small amount of consequence: I’m painted as someone who won’t set foot in a multiplex, who disdains any movie that doesn’t have subtitles or a write-up in Film Comment. I have the ticket stubs to prove this is not the case. Exclusionists don’t last long as movie fans: you run out of ways to be entertained. At some point, you’ll get bored watching just silent films or foreign films or action flicks. Variety is essential, and the multiplex in the summer becomes a bazaar of diverse treats: broad comedies, CGI-heavy circuses, and even independent films such as Boyhood. You’re foolish not to dive headfirst into the fray, even if you get hammered a bit. Guardians of the Galaxy summons easy adjectives such as “fun” and “action-packed,” which it is. I love the galaxy-trotting misfits because director James Gunn and co-writer Nicole Perlman find room to explore their characters’ backstories in their quippy, cheeky script. We bond with these flawed souls because they’re us. (Oddly enough, that’s also why Boyhood worked.) Gunn has a big advantage. This Marvel property lacks the burden of expectations associated with the X-Men or Spider-Man. He takes serious and funny diversions without ever losing his adventurous spirit, just like he did in 2011’s Super. I wish I could affix the same qualities to X-Men: Days of Future Past. It feels like a gear in a perpetual sequel machine, even if the wonderful Jennifer Lawrence and Michael Fassbender lend dramatic heft. That’s better than Jersey Boys, based on the hit Broadway musical about Frankie Valli and

the Four Seasons, which finds Clint Eastwood directing with the intent to not offend anyone. He should know better. 2012’s 21 Jump Street involved two young cops (Channing Tatum and Jonah Hill) who went undercover at a high school only to have their very different experiences strain their friendship. It was profane and juvenile and broad as grandma’s ass, and became the go-to, cheer-me-up option in my DVD collection. So when a sequel putting the two leads in college was announced, I balked. 22 Jump Street nearly chokes us with its self-awareness, but what saves the movie is that it’s still flat-out funny, and Tatum and Hall maintain an almost romantic chemistry—reflected in an Annie Hall homage—that gives the movie a giddy, absurd poignancy. GotG and 22 Jump Street were the highlights of my multiplex summer, but they were not the only movies I enjoyed. Dawn of the Planet of the Apes has not an ounce of special effects bloat as director Matt Reeves smartly uses the contentious, distrustful relationship between the emerging simian society and a depleted human population to drive the action. And Doug Liman’s guileless and action-packed sci-fi caper Edge of Tomorrow proves that Tom Cruise possesses malleable, indomitable charisma. He is, and always will be, a movie star. Emily Blunt, Cruise’s co-star, plays cool and composed better than just about anyone. God bless Liman for not softening her super-solider character so Cruise can play white knight: it allows for a deeper rapport between the two stars. I adored Nicholas Stoller’s ribald and surprisingly mature Neighbors (reviewed in June’s ICON), more so after suffering through Jake Kasdan’s Sex Tape. This bland romantic comedy features a bored married couple (Jason Segel,

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Cameron Diaz) trying to retrieve their recorded amorous escapades before it goes viral. Stoller co-wrote the film with frequent collaborator Segel (Forgetting Sarah Marshall, The Five-Year Engagement), so you expect Sex Tape to have some emotional intelligence. But it’s tepid sitcom nuttiness with nudity as Kasdan declines to explore the domestic drama that leads to a sexual stalemate. Diaz, whose crooked smile and sexy, bubbly energy made her a comedy all-star in the late 1990s, clearly needs help. Between Sex Tape and The Other Woman, where she dons a high-end wardrobe to play another busy businesswoman cliché, it’s hard to remember why a nation swooned. And The Other Woman, an ode to female empowerment featuring poop jokes and women finding happiness with a man, does Diaz no favors. She’s not a person in either movie, but a yawn-inducing archetype awaiting a surprise revelation everyone knows is coming. That’s better than playing a whiny sociopath/hero, like Melissa McCarthy’s title character in Tammy, an alleged comedy that tries to be heartwarming and boundary breaking and succeeds in being neither. What an odd, unlikable thing. Exasperation and exhilaration battle each other at the multiplex every week, but the possibility of glorious surprise looms largest in the summer. With the sun shining and the days longer, there’s an illicit thrill about sitting in the dark and digging into a director’s world—even if it’s against your better judgment. You can let yourself go, which is what summer is all about. I can’t wait to do it all again next year. ■


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Exclusive Interview

In the Kingdom of Fripp CALLING MUSIC “PROGRESSIVE” DOESN’T seem so exotic when you consider the alternative (who wants to listen to regressive rock?), yet to this day, dreadful images come to mind when the term gets tossed around. Snakes and ladders-worthy guitars, quicklyflicked bass lines, more paradiddles than you can stuff into a drum solo, pompous keyboards, doubly pompous vocals with humorless lyrics to match and a sense of complexity that would make Foucault’s pendulum stand still. And Roger Dean album covers. Certainly nothing but the complexity remains when discussing guitarist and progressive-everything avatar Robert Fripp’s King Crimson. Menacing. Sarcastic. Elegant. Rude. Uncompromising. Completely devoid of pop sensibilities. Pursuing lofty goals that extends its structures and melodies into jazz and classical music without losing its rockist edge. Loud. Quiet. Fripp-like. It’s been this way since 1969 and the now-eight lineups that the enigmatic Fripp has gathered together in the name and service of the King. Yes, he’s had other

phonist (Mel Collins) and Fripp. After their first rehearsals, Fripp wrote on his blog “Two Crim Principles articulated: 1. Enjoying our playing together is encouraged. 2. If you don’t wish to play a part, give it to someone else—there’s enough of them.” This September 12 and 13 the whole lot of King Crimson will take on the Kimmel Center. For Tony Levin, the Boston-based session bassist renowned for his work on Chapman Stick and upright bass with John Lennon, Lou Reed, Todd Rundgren, and Paul Simon first involved in all things Fripp through each man’s collaborations with Peter Gabriel. Fresh from his departure from Genesis, Gabriel sought to enhance the drama in his work without prog’s pomp and called on Fripp and Levin to provide spidery instrumental menace. “With Peter you have a great solo artist, who also varies his music a great deal—and he’s an exceptional performer and a great guy to boot,” says Levin from King Crimson’s London rehearsal space. “So, like any other

That simple notion—moving on—is what guides the latest incarnation of King Crimson and its attack, as each man states that with Fripp, the past and the present are all simply crammed forward into the future and history doesn’t truly exist.

configurations (occasionally called ProjeKcts) that he’s convened in which to express his experimental tendencies, and often with the same personnel that a Crimson meeting would have. Yet, like a great chef who knows when a soufflé is perfect, it’s not King Crimson until Fripp says it’s so. Last year he said so, and convened an unconventional (even for him) assemblage of Crimson players familiar-to-Fripp (Jakko Jakzyk), new (Bill Reiflin), mid-period herky jerky (Tony Levin, Pat Mastelotto) and old (Mel Collins, who first played with Fripp on 1970s In the Wake of the Poseidon) for a touring-only (so he says now) King Crimson that would play uniquely improvisational takes of all level and period Crimson. This one just happens to have three drummers (Gavin Harrison, Bill Rieflin and Pat Mastelotto) a bassist-singer (Tony Levin), a guitarist-singer (Jakko Jakszyk), a flutist-saxo-

If A.D. Amorosi can’t be found writing features for ICON, the Philadelphia Inquirer or doing Icepacks, Icecubes and other stories for Philadelphia’s City Paper, he’s probably hitting restaurants like Stephen Starr’s or running his greyhound.

Cover art of King Crimson’s 1969 debut album, In the Court of the Crimson King.

bass player on the planet would, I jumped at the chance to be part of that music.” During these sessions, he came in close contact and collaboration with Fripp, who then was considering a new ensemble, Discipline. “From playing with him on Peter’s record and tour—and again on Robert’s solo record Exposure— I knew what an innovative musician he was and was thrilled to be part of any band he was envisioning. No matter what Crimson incarnation, Robert Fripp has created a band that is truly progressive, that moves forward and always challenges itself, its players, and its audience.”

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1981 was the year of Discipline, but rather than use that name for his band, Fripp decided to call his angular quartet (Levin, drummer Bill Bruford, guitarist/singer Adrian Belew, himself) King Crimson and their first album Discipline. “When I joined the band, Robert had a lot of music written, and a particular way of interweaving the guitars, and sometimes my Chapman Stick,” says Levin. “Bill also had ideas on how he’d like the bass and drums to intermingle. All those ideas were groundbreaking and special, so I happily plugged into them.” That sound, a nervous New Wave jerkiness and its Philip Glass-like repetition, figured into two additional KC albums, Beat (1982) and Three of a Perfect Pair (1984) before that quartet splintered, only to re-assemble itself as a buggier, more aggressive KC in the 90s. This neo-industrial model, now with an added drummer in Pat Mastelotto and third guitarist Trey Gunn, recorded Vroom in 1994, Thrak in 1995, and released two brusquely, dusky, husky tour albums, B’Boom: Live in Argentina and Thrakattak. “There’s a lot of mutual musical respect among all the Crimson members—the feeling for me is that I’m there because it’s my playing and my musicality that’s wanted in the band,” says Levin of all KC configurations and the improvisational largesse Fripp insists each band member takes advantage of. “So I’ll happily take suggestions about my parts, or even specific bass parts, because in the end I have the latitude to play in a way that satisfies me, and there are also good musical challenges for me.” Levin only found out about the new Crimson incarnation when Fripp e-mailed the bassist asking him to be part of it. A week or two later they started scheduling rehearsals. “I was thrilled,” he says. Levin bounces in mid-air discussing the most striking difference about this incarnation of the band—the three drummers. “That’s a big jump, musically, and I feel the guys are doing great with it—they’re coming up with exciting ways to approach the situation of all those drummers. As a bass player I’m pretty involved in the rhythm section plans, so it was great in the early rehearsals to find they had already worked hard at eliminating the rhythm chaos that would happen with all playing bass drums in the same sections.” Having Mel Collins playing sax is also a huge musical change from any of the other incarnations Levin has been part of. “It’s more reminiscent of the ‘70s Crimson, and there are more open ‘playing’ sections in the music than we had before.” That “‘70s Crimson” that Levin speaks of is the very thing that put guitarist-singer Jakko Jakszyk on the road to art-rock ruin, as he was but 13 years old when he first saw Crimson in 1971. “It blew me away, Mel Collins one side of the stage, Robert the other,” says Jakszyk. “It felt that night that something in my life had changed forev-


er. Years later this began to seem like some romantic teenage notion. But now it seems like I was right: Mel is still on one side of the stage and Robert the other, and now I’m in the middle. How extraordinary is that?” King Crimson was the reason Jakszyk became a musician, yet his path as a multi-instrumentalist and singer didn’t just lead him to a prominent solo career, but one where he would play with members of other giants of the art-prog school like Van Der Graaf Generator, Slapp Happy, Karn/Jansen/Barbieri, and Henry Cow. “Back in he ‘80s I would mix and match work in the commercial field with people I’d always admired and was excited to work with.” When Jakszyk talks about his “commercial field,” he could surely be speaking of not letting both Whitney Houston and Michael Jackson use his songs and music for projects that each solicited from the young guitarist. “I certainly regret my sense of ethical honesty turning down a request for Whitney to cover a song of mine. And if Michael would have called I’d have been there.” Instead, he worked happily with the likes of Karn/Jansen/Barbieri, Karn’s Dali’s Car, and his solo album, The Tooth Mother, before happening on to the work world of all that was Crimsoid. Drummer Gavin Harrison opened the door to friendship and collaboration with Fripp since Jakszyk used his London

neighbor for drum sessions. This drummer, a longtime part of Porcupine Tree, met Fripp when he toured throughout Europe with the Tree and immediately made him a rhythmatist in several Fripp enterprises. From there, Harrison suggested Jakszyk as a collaborator for a ProjeKct which became Jakszyk, Fripp and Collins (“You have to remember that this started with Robert calling me and asking if I fancied improvising with him. We recorded four improvised pieces, Robert gave me the hard drive with what we’d done and suggested that I might want to see if I could come up with something. I had no idea where this was heading, if Robert would like it, and if it would be released. And as I did it I had no idea what it would sound like.” Then Jakszyk became one of the cherished few to mix-and-master King Crimson’s Thrak, part of his classic reissue series. “I started the mix and Robert comes over and we listen together. He makes suggestions and we move on.” That simple notion—moving on—is what guides the latest incarnation of King Crimson and its attack, as each man states that with Fripp, the past and the present are all simply crammed forward into the future and history doesn’t truly exist. “Robert says ‘all the music is new, whenever it was written’” says Jakszyk. “This is a different Crimson. One that em-

braces its past in order to move forward. Robert let’s you play. He will only tell you what he doesn’t think works, but not how to play.” Levin follows up, saying that the material they’re doing is “changing with each rehearsal period, so I can’t be sure what we’ll be playing in September. The manner of its attack, as you put it, is to approach each piece as a new one, even if it was written some time ago. The drummers have been instructed to re-invent rock drumming. And we’d like the overall ethic to be to have fun.” Along with deconstructing the Crimson catalog, new material has been alluded to. Some unreleased stuff already recorded, with other pieces in early stages of development. “Will this naturally lead to a new album? Who knows,” says Jakszyk. “What I can say is that Robert thinks in a different way. There’s a Crimson way of doing things unlike anything else I’ve been involved with. I’m constantly amazed at the parts he comes up with, be they new or from decades ago. He’s unique.” ■ King Crimson performs Friday, September 12 at 8:00pm and Saturday, September 13 at 8:00pm. Kimmel Center for the Performing Arts, Verizon Hall, Broad Street, Philadelphia. 215-893-1999 www.kimmelcenter.org

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Reel News



Chef (2014) ★★★★ Cast: Jon Favreau, Emjay Anthony, Dustin Hoffman, Oliver Platt Genre: Comedy, drama Directed and written by Jon Favreau. Rating R for some strong language. Running time 115 minutes. Jon Favreau, who directed the three Iron Man movies, moves into the kitchen with an “Iron Chef ” persona. His family-friendly indie hits all the feel-good bases with an appetizer of take-this-job-and-shove-it, an entrée of happiness and fulfillment by working your passion, and a just-right dessert of father-son bonding. Trendy chef Carl Casper (Favreau) wants to serve experimental recipes to LA’s top food critic Ramsey Michel (Platt). The restaurant owner (Hoffman) demands he serve the popular, but mundane, menu. When the two go mano-a-mano in the restaurant, cell phones pop out and the meltdown goes viral on Twitter. Humiliated, Casper hits the road to buy a food truck in Miami and drive it back to LA with his preteen son Percy (Anthony). Percy tweets news their progress to their universe of foody fans. At every town, hundreds wait in line to meet the now-famous Cubano food truck and chef. Yes, life is once again sweet.

Ida (2014) ★★★★ Cast: Agata Trzebuchowska, Agata Kulesza Genre: Drama Rated PG-13 for thematic elements, some sexuality and smoking. Running time 80 minutes. Awards: Best Film–London, Toronto, Warsaw film festivals. Polish with English subtitles. Besides learning to walk, talk, and use the potty, coming of age is the greatest challenge a human has yet to face. Especially for Anna (Trzebuchowska) who grew up in a Polish orphanage in the 1960s and aspires to be a nun. Mother Superior tells her she must first return to her home village and meet her long lost Aunt Wanda (Kulesza), who had refused to adopt her. Anna’s journey from a convent to a hedonistic aunt famous as a hard-nosed, communist judge is one shocking revelation after another for naive Anna. She learns her given name is Ida, she’s a Jew, and her parents were Holocaust victims. And that’s just for starters. This extraordinary character study of both Anna and Wanda resonates with every unexpected revelation as the two women, about as polar opposite as possible, struggle for a mutual understanding of what life means.

Draft Day (2014) ★★★ Cast: Kevin Costner, Jennifer Garner, Denis Leary Genre: Sports drama Rated PG-13 for brief strong language and sexual references. Running time 109 minutes. How many subplots can you plug into a movie that covers a 12-hour working day? Ivan Reitman directs the day-in-the-life movie like a quarterback racing the clock with a playbook of tricks and fakes, and with only a few fumbles. Sonny Weaver (Costner), manages the hapless Cleveland Browns. Unless he scores big on Draft Day, he and his coaching staff will be on the streets. Suspense builds until finally it’s decision time for the future of both Sonny and the Browns. That’s the setup. The story is really about the dynamics that play out among people under intense pressure with one chance to get it right. Like a downfield run, no clear path is obvious, either with the player draft or the complicated personal and professional relationships. Costner steps up to the plate, oops wrong movie, and delivers a hole in one, uh, a hail Mary. Citizen Koch (2014) ★★★ Genre: Political documentary Directed by Carl Deal and Tia Lessin.

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Unrated Running time 90 minutes. Carl Deal and Tia Lessin originally named their film “Citizen Corp.,” an exposé on the Supreme Court’s ruling that corporations are citizens and can channel unlimited funds through super pacs. Independent Television Service underwrote the project with funding and airtime scheduled on the PBS Independent Lens series. When the directors changed the name to reflect their interest in ultra-conservatives David and Charles Kock’s multimillion dollar donations to influence elections, PBS pulled its support. Coincidently, David Koch had contributed $23 million to PBS and sat on the board of trustees for the New York and Boston affiliate stations. The movie directors raised $170,000 online through Kickstarter and completed their movie, though it received limited release. So much for the back story. The Koch brothers, worth $70 billion, are by no means the only free-spenders featured. The movie takes a wide-spectrum aim at pro-business, conservative super pacs and their role in subverting the democratic process. In an effort for bipartisan coverage, both Democrats and Republicans take the stand against corporate electioneering. But it’s hard to keep your idealism when the “1 percent” can swing an election—or censor PBS programming. ■

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The Jazz Scene Don Glanden is passionate about his work as a jazz pianist, composer, and jazz educator. But for the past 20 years or so, he’s had another passion—the production of a documentary film on the late and legendary trumpet giant, Wilmington’s Clifford Brown. After years of stops and starts, the Brownie Speaks DVD is now a reality. And it’s remarkable, especially when considering that only one snippet of Clifford Brown on film is known to exist. “Growing up in Wilmington as a jazz musician meant coming into contact with people who knew Clifford,” Glanden said. “I’d be playing somewhere and someone would say, ‘I love your group. You know, my uncle was a jazz musician. His name was Clifford Brown.’ Right from the beginning of getting into jazz, there was a personal connection to Clifford. That kind of access to people, places, and historical documents made him a logical choice for an extended study.” Like everything Glanden does, his attention to even the smallest detail—notably when it concerns Brown’s growing up, family, education and just how important the city of Wilmington is to Brown’s story—is extraordinary. The importance of Brown as a player and as a jazz innovator is covered via interviews, audio and video, with just about everyone Brown ever worked with over the years, including those many no longer with us, like Dizzy Gillespie, Max Roach, Donald Byrd, and others. The coverage of Brown’s tragic death at the age of 25—a car accident on the Pennsylvania Turnpike killed Brown, pianist Richie Powell, and Powell’s wife—tugs at the heartstrings, as it should. Ideally, projects like these should touch, inform, entertain and educate. This succeeds on every level. The DVD comes with a load of extras, including a recently discovered Clifford Brown radio interview, and a 28-page booklet. amazon.com. Newly-announced performers for OutBeat America include drummer Terry Lyne Carrington, bassist and Philadelphia native Jennifer Leitham, pianist/vocalist Dena DeRose, vocalist David Coss, pianist Ben Flint, and reedman Mike McGinnis. The local focus of this event comes by way of a program called Lush Life, dedicated to the music of Billy Strayhorn.Among the area artists participating in the Lush Life” event are vocalists Rhenda Fearrington, Ella Ghant, Shayne Frederick and Kevin Valentine; pianists Dena Underwood and Andy Kahn; guitarist Monnette Sudler; trumpeter Terell Stafford; and reedmen Elliott Levin and Tim Warfield. The fest runs from September 18 through September 21 at a number of locations, including Union Transfer, Painted Bride, Philadelphia Museum of Art, and Chris’ Jazz Café. outbeatjazzfest.com. Area jazz concert presenters and promoters—and there seem to be more of them every day—take note: The Jazz Connect Conference, sponsored by Jazz Times and the Jazz Forward Coalition, has announced details of the 2015 meeting of the jazz community. The conference will be held on January 8 and 9 at Saint Peter’s Church in New York City. Moderators and panelists will include a cross-section of professionals from around the world discussing a wide range of issues important to the jazz world, as well as a dozen workshops and five panel sessions. Last year’s confab drew more than 800 people, so it’s never too early to get your ticket. jazz-connect.org.


The long-awaited and oft-delayed Tony Bennett/Lady Gaga CD, Cheek to Cheek, finally has a release date of September 23. A single from the project, “Anything Goes,” has already been issued and it was number one on The Billboard jazz charts within hours of its release. Veteran arranger Marion Evans, who calls Holland, PA, his home, wrote nine of the

Lady Gaga and Tony Bennett.

charts for the project. We were in touch with Maestro Evans recently, who explained the new project: “The reason for the new CD is that the arrangement I wrote for them on ‘The Lady is a Tramp’ for Tony’s Duets II CD was such a hit. ‘Tramp’ happened three years ago when Tony called my house in the middle of the night, told me Gaga had been signed, and that we needed to go into the studio to record that morning. I stayed up all night, wrote the chart and the band laid down the track in the studio. Then Lady Gaga arrived to record her track. I couldn’t figure out how she would do a song like this. But she’s a fabulous musician. She walked in, picked up the sheet music, heard the track once and then recorded it in one take. She was fantastic.” Also in the “it’s never too early” category is Bass BootCamp 2015, run by Philadelphia bassist extraordinaire Gerald Veasley, an enterprising player as much known for his entrepreneurship as he is for his bass playing. Founded in 2002, and back in Philadelphia after too long an absence, the camp, says Veasley, “Is the ultimate experience for bassists looking to grow and develop during a weekend getaway. Participants learn, perform, and are exposed to leading bass players and bass-related concerts.” The camp will be held March 13 to March 15 at the Crowne Plaza hotel in Philadelphia, a venue that will give Veasley plenty of meeting space for workshops and performances. Many bassists have attended these events every year since they first started. Interested players can register now via bassbootcamp.com. or call 215-477-0200. The jazz community can learn a lot from a world-class player like Gerald Veasley, specifically about the value of promotion, publicity and creating non-traditional avenues—such as Bass BootCamp—to increase interest and visibility for jazz.

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For the past six months, a number of our region’s top female jazz singers have been meeting casually to explore new works, performance techniques, and personal experience. The goal was to develop a community of vocal artists dedicated to music and the history of jazz singers from Ethel Waters to Sarah Vaughan and beyond. The sessions will culminate in what promises to be an exceptional program of exceptional artists—now called DivaNation—to be held at Drexel University’s Mandell Theater on September 12 and 13. This free event is sponsored in part by the Philadelphia Jazz Project. Artists include Bethlehem Roberson, Elizabeth Sanders, Dena Underwood (also Musical Director), Ella Gahnt, Barbara Montgomery, Lotus Barron, Gretschen Elise, Jaye Sanders, Saudah Al-Akbar, Carol Harris, and Kendrah Butler. Showtime on Friday and Saturday is 7:00, and there will be a Saturday matinee with a start time of 1 p.m. Mandell Theater is on 33rd and Chestnut Street. This year’s Music from the Heart jazz concert, supported in part by the Gateway Health organization, will be held on September 27 at the Loeb Auditorium within the Germantown Friend’s School at Greene Street and Schoolhouse Lane in the Germantown section of Philadelphia. This is the seventh annual such program, which benefits Center in the Park, a non-profit community center for senior citizens in Northwest Philadelphia. This year’s show stars that ubiquitous and charismatic dynamo of song, Rhenda Fearrington, as well as pianist Jeff Torchon’s Conjunto Philadelphia, an ensemble dedicated to performing the music of pre-revolutionary Cuba. Tickets are $25 and can be purchased in advance by calling 215-848-7722, extension 203. Trumpeter and steel drummer Chris Aschman has launched an open jam session at the Calabash Banquet & Restaurant in the Overbrook section of the city. It takes place every Tuesday night from 8:00 p.m. to midnight and there’s a $5.00 cover charge. In addition to Aschman, the house band often includes other heavyweights like bassist Mike Boone, pianist Frank Strauss and drummer Byron Landham. The food is good and reasonably priced, the music is swinging, and the crowds grow larger each week. Calabash is on 6208 Lancaster Avenue. calabashbanquet.com. Running from September 13 through September 22 is an ambitious undertaking called the United Philadelphia Jazz Festival and Celebration. Those in charge are the folks who put on the celebrated Philadelphia Jazz and Poetry Festival more than a decade ago, and like that confab, the United Fest looks forward musically with performers like saxophonists Elliott Levin, Odean Pope and Bobby Zankel; the Arpeggio Jazz Ensemble; the legendary Sun Ra Arkestra; and one of the finest big bands on the planet, the Jazz Ambassadors, a.k.a. The U.S. Army Big Band. Locations include Collins Park (17th and Chestnut) and Sister Cities Park (18th and the Parkway), The Art Museum, PECO Energy Building (23rd and Market), and the Philadelphia Clef Club (Broad and Fitzwater). philaunitedjazzfestival.com. ■ Correction: Michelle Lordi, a fine singer, was referenced in this space last month as a singer/pianist. Lordi has let us know that—at least right now—she doesn’t play piano.


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Singer / Songwriter Ruthann Friedman ★★★1/2 Chinatown Wolfgang Records Ruthann Friedman’s name may be best known by those who scan songwriting credits. She wrote “Windy,” the No. 1 hit single, released by The Association in 1967 and contributed backing vocals to the song. Friedman is emerging from the background with Chinatown, her first album of new music in more than 40 years. It’s a heartfelt, and occasionally witty and playful collection of songs that spotlights


black performers and L.C. was one of the earliest artists to join the label. The Complete SAR Records Recordings collects those songs in one place for the first time and chronicles the brothers’ artistic partnership. “Take Me For What I Am” opens the album with a salvo of pop-flavored rhythm and blues that could have come from one of Sam’s albums. “The Wobble,” also written by Sam, is a bit dated but still enjoyable and shows L.C.’s attempt to cash in on the dance craze started by the Twist and Watusi. L.C. sang in a higher and harder register, he told liner notes author Peter Guralnick, to distinguish himself from his brother. “Put Me Down Easy,” one of 12 songs written or co-written by Sam on this anthology, is a chance to hear both brothers sing on this first-rate ballad; Sam provides backing support. “Do You Wanna Dance (Yea Man)” opens with L.C. testifying in gospel style before turning the song into an invitation to the dance floor. The compilation, originally intended for release in 1964, pulls L.C. out of the historical shadows while highlighting Sam’s behind-thescenes work as a songwriter and producer. 17 songs, 42 minutes Loudon Wainwright III ★★★★ Haven’t Got the Blues (Yet) 429 Records Over the course of more than 20 albums, Loudon Wainwright III has a brought a wit and candor to his songs. At 68, Wainwright remains an astute observer of the human condi-

Ruthann Friedman.

her airy, conversational voice that enables her to connect directly with the listener. “That’s What I Remember,” the opening track, serves as an autobiographical recap of her Friedman’s life. “You have my word/Most of it is true,” she puckishly sings, a reminder that memory is a selective process. “What a Joy” is a reflection on a parent’s journey as a child progresses into adulthood. Friedman’s music is folk-based with a tinge of country and her supporting cast on the CD includes pianist Van Dyke Parks. She delivers a sobering cover of Peggy Seeger’s “Springhill Mining Disaster,” which left more than 80 miners dead in Nova Scotia in 1958. On “iPod,” Friedman depicts a plugged-in world that leaves young people disconnected from those around them. 11 songs 45 minutes L.C. Cooke ★★★1/2 The Complete SAR Records Recordings ABKCO Music and Records As the younger brother of soul music legend Sam Cooke, L.C. Cooke naturally gravitated toward a career as a singer. While he never enjoyed the level of success as his older sibling, L.C. displayed a talent in his own right and benefited from his brother’s skills as a songwriter and producer. Sam developed SAR Records in 1959 as an outlet for


show the breadth of Wainwright’s songwriting. The former is a lighthearted look at owning a dog in the city, complete with canine sound effects. The latter is a yuletide songs unlike no other. Inspired by the mass murder of 20 children and six adults at a school in Newtown, Conn., in 2012, Wainwright takes on a gun-happy society backed by a melody that recalls “White Christmas.” It’s a holiday song with a powerful message. 14 songs, 48 minutes. Tom Russell ★★★★ Midway to Bayamon Frontera Records Tom Russell has been nearly as prolific as Bob Dylan as a songwriter over the past 30 years. Like Dylan and his ongoing Bootleg Series releases, Russell has been issuing rare and unreleased songs in his “Museum of Memories” collections. While not a “Museum of Memories” release, Midway to Bayamon continues in that vein with 17 songs never before available on CD and eight other previously unreleased recordings. It’s a chance to hear a masterful songwriter at work. Midway to Bayamon focuses on recordings from 1982 to 1992 and shows Russell exploring different approaches to songwriting. “Wise Blood,” a reference to Flannery O’Connor’s novel, is an up-tempo country track performed as a duet with Susan Pillsbury. A live version of “William Faulkner in Hollywood,” was inspired by the famed novelist’s time as a screenwriter. The song’s themes were explored by the Coen Brothers in their 1991 film “Barton Fink.” On “The Lady Loves the Gambler,” Russell offers a character sketch of a couple searching for that elusive big break in Las Vegas. “Denver Wind” is a haunting tale of lost love with Nanci Griffith helping out on vocals. Other tracks feature Russell’s eclectic approach. “Juarez, a Polka Town” has a lively TexMex arrangement, while “The Definition of a Fool” employs a modified reggae melody. 25 songs, 79 minutes. The Loudermilks ★★★ The Loudermilks You Know What …? Records

Loudon Wainwright III.

tion on Haven’t Got the Blues (Yet). “Brand New Dance” is a rockabilly-fueled tune on the pros and cons of aging. “Got a new smell it’s called the Old Man/A new taste I’d say it was bland/But that senior discount that’s my kind of treat.” Wainwright has long used his songs to chronicle his family relationships. The melodic “I Knew Your Mother” is directed at his daughter Martha, who contributed back-up vocals, as he analyzes his relationship with Kate McGarrigle, his first wife. “In a Hurry” is an emotionally moving song that details a panhandler’s plight in the city and demonstrates the growing divide between the haves and have-nots of America. “Man & Dog” and “I’ll Be Killing You This Christmas”

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From the Everly Brothers to the Roches, sibling harmonies have a special resonance in popular music. Alan and Chad Edwards carry on that tradition in The Loudermilks, a moniker that refers to the original surname of Charlie and Ira Louvin, brothers known for their close harmonies in country and gospel music. The Loudermilks self-titled debut is rooted in country but not confined to it. “Watch ‘Em Fall,” starts the album with a lively melody that serves as an effective counterpoint to the downbeat lyrics. “Darkness of Hell” is an ominous country blues that dovetails nicely with the subject matter. “Quite Honestly” recalls early ‘90s Jayhawks with its emotional lyrics, appealing harmonies and down-to-earth guitar parts. “Georgia Pines” contains echoes of the Flying Burrito Brothers and Gram Parsons in its presentation. The Loudermilks have a knack for creating a mood, be it the good-time weekend vibe of “Come Along With Me” or the stark, doom-like feeling of “Jim Dugan.” The Edwards brothers, who share songwriting duties, have laid the foundation for a successful band. 10 songs, 35 minutes. ■

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Nick’’s Picks Larry Goldings, Peter Bernstein, Bill Stewart ★★★★ Ramshackle Serenade Pirouet Ramshackle Serenade is a great album title for this splendid trio, the supplest and sharpest tuned organ-guitardrum trio making music today. Their endurance as a unit— they’ve been recording together for many years and share more than a dozen recordings—has never been more pro-



ists of the day. Once again, she’s produced and joined by grand tenor saxophonist Houston Person, who mixes things up by pairing Morrison with her LA trio featuring the sparkling pianist Stuart Elster, bassist Richard Simon and Lee Spath on drums. The set list has a deliberate gospel tinge— even The Beatles’ “And I Love Him” suggests the man upstairs—yet Morrison’s bluesy, swinging delivery, a combination of grit and poetry, make renditions of “I Didn’t Know What Time It Was,” “Trust In Me” and the title track absolutely stellar. She’s intrepid enough to weave songs from the ‘40s to the ‘70s with an authoritative confidence and her black-tie

Mixing virtuosic playing (the ace rhythm team is pianist John Escreet, bassist Matt Brewer and drummer Obed Calvaire), multi-tracked vocals, zippy electronics and synthesized sounds, the record is grounded by earthy tracks that build on sturdy melodies (“The Golden Zone”), powerful grooves (“Massive Humanity”) and the lovely title tune that’s tagged with a wonderful, wiry solo by guitarist Wayne Krantz. The funky, soul-jazz tune “Imagination Sets Us Free” bounces along on a hot bass and beats vamp that’s bifurcated by Escreet’s high-stepping solo and free jazz improv by guitarist Rogers. At 53, Binney is the quintessential NY musician who can fill a late night jazz bar on a moment’s notice with fans who feed hungrily off his energetic, high-flying solos and crackerjack interplay, and that abundant creativity is fully present on the impressive Anacapa. (10 tracks; 71 minutes) Walter Smith III ★★★1/2 Still Casual Available on iTunes Tenor saxophonist Walter Smith III is one of the key musicians at the forefront of modern jazz, writing and performing original music that reference sounds and rhythms from

Larry Goldings, Peter Bernstein, Bill Stewart.

nounced or sophisticated. “Roach,” a soulful original by Goldings has a late night luster, all deep grooves and peppered with Stewart’s dazzling beats. Bernstein’s full, rounded notes romance the melody of Jobim’s classic “Luiza” and lifts his superb original “Simple As That” to joyful heights. Most of the music in this winning set takes flight on the wings of swing. The trio consistently morphs groove with grace notes and tasty licks, balancing the nostalgic (a sprightly “Sweet and Lovely”) with the innovative (“Useless Metaphor” has a crisp, modern edge). The band goes out on a high note with an unanticipated tribute, playing Horace Silver’s classic “Peace.” Though Mr. Silver passed six months after the album was recorded, Goldings, Bernstein and Stewart give us a meaningful version that’s insightful and altogether reverential. (9 tracks; 62 minutes) Barbara Morrison ★★★★1/2 I Love You, Yes I Do Savant An irresistible jazz and blues singer, Los Angeles-based Barbara Morrison follows up last year’s A Sunday Kind Of Love (Savant) with a looser and superior effort, I Love You, Yes I Do, that cements her status as one of the best song styl-

Nick Bewsey has been writing about jazz for ICON since 2004 and is a member of The Jazz Journalists Assoc. He also paticipates in DownBeat’s Annual International Critics Poll.

Barbara Morrison.

accompaniment kills with a combination of professional elegance and gutsy lyricism. You’ll adore Morrison and company’s takes on “Save Your Love For Me” and the Eisley’s “For The Love Of You,” but there’s more to love when Morrison digs into less familiar material. (12 tracks; 59 minutes) David Binney ★★★★ Anacapa Criss Cross Saxophonist David Binney’s music can be challenging and rambunctious, and his tunes often combine feverish solos played against breathtaking textures whipped up by his rhythm team. His original compositions never stay still for long, yet Anacapa is a departure that’s often reflective and quite beautiful. There’s a genuine emotive thread that Binney weaves throughout, giving the album a cohesive, inviting flow and his highly collaborative band knuckles down to give each of the leader’s tune a pleasing shine. It keeps the album continuously fresh, even on multiple spins, which helps make Anacapa Binney’s most rewarding effort in his substantial discography.

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Walter Smith III.

his generation. Still Casual follows his evolutionary work with the Next Collective band and drummer Eric Harland’s Voyager group. Smith, 33, flaunts his agility and a grooveladen vibe on the album’s first half, mixing layered harmonics underscored by jacked-up guitarist Matt StevensFollowing track five, a touching tribute to fellow musician Jimmy Greene, Smith and crew bounce on tunes with hard-charging passion and intensity. A coda spotlights Smith and Stevens in duo mode, teasing ribbons of melody surrounded by ethereal electronics. It’s an affecting conclusion that leaves you wanting more. The dynamic rhythm team features Taylor Eigsti, Kendrick Scott and Harish Raghavan. (10 tracks; 55 minutes) ■

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Keresman on Disc


Wil Blades ★★★★ Field Notes Royal Potato Family

come from the guitars of Jimi Hendrix and Lou Reed began in the bell of Ayler’s tenor, a big-toned, wide-vibrato-ed thing of unrefined beauty, naïve and brutish and child-like simultaneously. Peacock (who pretty much played with everyone, including Bill Evans) and Murray were on an equal footing with Ayler. The melodies are almost too simple, folk-like and echoing New Orleans marches and ancient spirituals; the trio plays with and unfettered sense of freedom yet there is a covert (sometimes overt) unity of purpose, where “swing” is implied and felt more than heard. Remastered and expanded (one additional tune), Spiritual Unity remains as crucial as the first recordings by Coleman, Hendrix, Zappa/Mothers, and The Velvet Underground. (5 tracks, 38 min.) espdisc.com

Wil Blades, a Chicagoan by way of San Francisco, is a Hammond B-3 organist tutored by old school legend Dr.

The Lovers Key.

Wil Blades.

Lonnie Smith himself. While Blades has the thick, plush Hammond sound in the vein of Smith and Richard “Groove” Holmes down pat, he doesn’t coast on the glories of yesterday. Accompanied by protean guitarist Jeff Parker (the band Tortoise) and drummer Simon Lott (who has jazz precision with some of the whomp of New Orleans R&B), Field Notes is a hard-groovin’ collection that just won’t quit. What makes it stand out from the pack is Parker’s somewhat exploratory yet decisive solos, stylistically based in Wes Montgomery but with subtle funk and rock undertones. Lott cracks like a whip and the grooves are consistently classic but there’s some neat-o modern twists going on as well, judicious dissonances, near-psychedelic touches, like that. In fact, this occasionally evokes one of the lesser-known but seminal fusion bands, Tony Williams’ Lifetime, along with aspects of The Meters and Sly Stone (in his prime). (nine tracks, 49 min.) royalpotatofamily.com The Lovers Key ★★★★1/2 Here Today Gone Tomorrow (Deluxe Edition) Room Everything old is new again, and when a platter fine as Here Today… that’s such a good thing. The Lovers Key includes Christopher Moll (formerly of The Postmarks) and Maco Monthervil, the latter being one of the best male voices this writer’s heard in awhile. Monthervil evokes past masters of soul/R&B such as Jackie Wilson, Curtis Mayfield, and Chuck Jackson without attempting to emulate/imitate them. The songs are based in 1960s pop/soul (think Motown) but shemp@hotmail.com

are delivered with lean rock & roll band flair, the melodies are winsome yet punchy and insidiously catchy, and in an era where so many vocalists over-sing/emote, Monthervil displays a sly, cool-cat crooner’s restraint (think Dean Martin, Jerry Butler) that can make a listener lean in closer to the sound system. If there’s a fourth Austin Powers movie, LK should be the soundtrack…oh, behave. (11 tracks, 41 minutes) theloverskeymusic.com

Cedar Walton ★★★★★ Reliving The Moment: Live at the Keystone Corner HighNote With the exception of bassist David Williams, the participants in this music are no longer with us—pianist Cedar

Luke Winslow-King ★★★1/2 Everlasting Arms Bloodshot Michigan-bred Luke Winslow-King is an anomaly—studied jazz guitar and Czech music at university, worked as a music therapist, and was a street musician in New Orleans. In some ways, he’s a throwback to American music of the first half of the 20th century—blues (rural and pre-electric urban), New Orleans jazz, folk, gospel, ragtime, early country and jug band music, plus bits of rock and roll. Raggedy acoustic slide guitar, mournful N’awlins brass, and a voice that sound a bit like a frayed Ry Cooder or the younger Tom Waits (albeit smoother). Singer Esther Rose’s semi-sweet dulcet tones provide a nice counterpoint. Arms is a rough, rowdy trip through a time machine, a trip unencumbered by stuffy formalism. (14 tracks, 47 min.) bloodshotrecords.com Albert Ayler ★★★★★ Spiritual Unity (50th Anniversary Edition) ESP-Disk There are a great many “legendary” albums in jazz but few more both infamous and important than Spiritual Unity, the ESP debut of saxophonist Albert Ayler. While Ornette Coleman preceded him, the trio of Ayler, bassist Gary Peacock, and drummer Sunny Murray rejected/rewrote the rules of jazz. AA’s trio contradicted the standbys of fixed pitch and a steady beat in favor of nuance, raw expression, and a collective approach. The feral roars and screeches to

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Cedar Walton.

Walton, tenor saxophonist Bob Berg, trumpeter Freddie Hubbard, and drummer Billy Higgins. There may be few better ways to celebrate their respective legacies than with this wonderfully-recorded live set from 1977-78. On the menu: sterling, steely, hard-swinging hard bop in their vein of Art Blakey’s Jazz Messengers at its 1960s peak. While Walton is justifiably known for his sublime lyricism and subtlety, here he plays with an fiery urgency that at times echoes McCoy Tyner. Williams’ bass is pliant and out-front, Berg is slightly Wayne Shorter-esque, ‘Trane-tinged and scorching (some scary notes), Higgins swings crisp like crazy, and Hubbard is the bristling fire-breather we remember and love. The recording quality is slightly rough but the music is so good you’ll scarcely notice. This is a reason to keep buying CDs. (7 tracks, 66 min.) jazzdepot.com ■

The List


A curated look at the month’s arts, entertainment, food and pop cultural events

SEPTEMBER Through Oct 19. 9 to 5: The Musical. Walnut Street Theatre opens its 206th season with Dolly Parton’s backwater bad-bossmeets-conniving-employees spectacular. You’ll miss the film version’s Lily Tomlin, but you get new songs such as “Backwoods Barbie.” Fair trade off? You decide. 825 Walnut Street. 215-574-3550. www.walnutstreettheatre.org 4 – Jamie XX Brit producer and remixer Jamie Smith, known best for twiddling knobs for Alicia Keys, as well as his role in the indie-licious The xx, brings the smart, blank-faced soul of his solo debut We’re New Here to Philly audiences. 8:30 p.m., Union Transfer, 1026 Spring Garden Street. $20-$22. 215-2322100, www.utphilly.com

12 – Opera Philadelphia Gala Before its 40th season starts, OP host its annual gala with Philly’s ginchiest opera singing couple, AVA alums Stephen Costello and Ailyn Perez who’ll sing songs from their upcoming debut, Love Duets, and probably make out. 6 p.m. Tented area in front of the Academy of Music, 240 South Broad Street. Donation prices vary. 215-893-1999, www.operaphila.org/gala.

thing any third-rate Petty cover act could do, and without the beards. 7:30 p.m. Wells Fargo Center $129.50, 79.50, 49.50, 1-800298-4200, www. comcastTIX.com

1026 Spring Garden Street. $20,. 215-2322100, www.utphilly.com

16 – Ruthie Foster Lady Sings the Blues. Deep rural blues at that on her new album, Promise of a Brand New Day. 8 p.m., World Cafe Live, 3025 Walnut Street, $18-$20, 215-222-1400, www.worldcafelive.com

25 – J Mascis Dinosaur Jr.’s innovative, grungy, monstersounding wall of noise guitarist refuses to cut or dye his hair and releases a new solo album, Tied to a Star. Keep the hair then, OK. 8 p.m., World Café Live, 3025 Walnut Street, $8-$30, 215-222-1400, www.worldcafelive.com

18 – Zion80 Guitarist and bandleader Jon Madof has interpreted the work of experimental composer and saxophonist John Zorn before (hey, he’s on Zorn’s Tzadik record label) and does so again on this 13-member ensemble’s latest album. What’s the singular fascination? 8:30, World Café Live, 3025 Walnut Street, $12-$15, 215-222-1400, www.worldcafelive.com

26 – Ethan Johns The acclaimed producer with a strong musical pedigree (his dad, Glyn did the Who, the Stones, etc) takes center stage with his new, soft solo album, Reckoning, after having produced new albums for Paul McCartney, Laura Marling, Tom Jones, and the Vaccines within the last three years. 8 p.m., World Café Live, 3025 Walnut Street, $5-$17, 215222-1400, www.worldcafelive.com

avant-garde, singer/songwriter weirdness. 8:30, Boot & Saddle, 1131 S. Broad Street, $12. www.bootandsaddlephilly.com

19 – Diane Monroe/Tony Micelli I can’t say exactly the personal nature of the Philly violin and vibes player’s on/off 30-year collaboration. But they have a new album, and I think they like each other. 8 p.m., Chris’ Jazz Café, 1421 Sansom Street. 215568-3131

26 – Erasure Gay electro pop innovator Vince Clarke (he started Depeche Mode and Yaz) returns with new music à la The Violet Flame. 9p.m. Borgata Event Center, Borgata Casino & Hotel, 1 Borgata Way, Atlantic City, NJ $59.50, 55. 866-900-4TIX, www.theBorgata.com.

13 – The Pretty Reckless The last time I saw this New York City nuglam act, Gossip Girl/singer Taylor Momsen

20 – OK Go American pop’s least likely to succeed—innovative videos, catchy chart topping hits—

13 – Jad Fair & Danielson The leader of Half Japanese halves that even more and stands alone in his utterly dazzling

5 – Bob Mould or Buzzcocks You can have your post-punk filled with wry, elder observations American-style (Mould) Jad Fair & Danielson.

Buzzcocks. Photo: Jan Rook.

or you can go back to the original punk era, go Brit, and get its sprightlier (Buzzcocks) but more precious cousin. You can’t do both, not this night. Mould; 9 p.m. Theatre of the Living Arts, 334 South Street. $25. 800-745-3000 www.Ticketmaster.com Buzzcocks: 8:30 p.m., Union Transfer, 1026 Spring Garden Street. $25. 215-232-2100, www.utphilly.com 11 – Justin Townes Earle Earle is too old for New Americana and too young for Old Americana. He is, however, newly sober, married and in possession of a raw, highly personal album, Single Mothers. So, life is good. 8 p,m., Ardmore Music Hall, 23 East Lancaster Avenue, Ardmore. 610-6498389 www.ardmoremusichall.com

Taylor Momsen.

OK Go.

had a bunch of old guys as her sidemen. This is not an ageist conceit. It was just weird. 8 p.m. Theatre of the Living Arts, 334 South Street. $20, $23. 800-745-3000. www.Ticketmaster.com 15 – Tom Petty & The Heartbreakers with Steve Winwood As long as Petty doesn’t do too much from his new album with the Heartbreakers, we’re fine. It’s not that Hypnotic Eye is bad, it’s just that its watery psychedelia is some-

still remain somewhat faceless, and now, without Capitol’s backing, they’re even independent. Get to know them. 8:30 p.m. Union Transfer, 1026 Spring Garden Street. $18-$20,. 215-232-2100, www.utphilly.com 25 – The Rentals Before Weezer releases its new album, here comes one-time keyboardist Matt Sharp’s synth-strung out solo album project with Lost In Alphaville. 8:30 p.m. Union Transfer,

Aziz Ansari.

26 – Aziz Ansari Before Parks & Recreation ends, one of the few comedians since Andrew Dice Clay to perform big rooms takes on the city’s biggest. 8 p.m. Wells Fargo Center, 3601 S Broad Street., $55, 45, 35. 1-800-298-4200, www. comcastTIX.com ■

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Jazz Library



Lee Morgan

Lee Morgan at John Coltrane’s “Blue Train” session in Hackensack, New Jersey, September 15, 1957.

UNFORTUNATELY, TRAGEDY HAS OFTEN invaded the lives of jazz musicians. But some the artists surely victimized themselves by reckless living habits. Then there were the greats and near-greats who became so dissatisfied with the way things were going with their career—and further disillusioned by the politics of the music industry—chose to take their own lives. Violence perpetrated upon jazz musicians—for whatever reason or reasons—has also claimed a few lives. One very tragic story relating to violence in the world of jazz has to do with the murder of trumpet great Lee Morgan. The story may have more to do with a spurned lover than a musician plying his craft by working in an environment where late hours are the norm, booze is primary, and drugs are prevalent and often used. Put all of that together and there is certainly a recipe for danger. Lee Morgan was only a known entity in jazz for less than two decades, but he kicked up a lot of dust in his time with his excellence on his chosen instrument. He had the ability to almost make his trumpet speak. There is an old saying in music, about a musical instrument being played so well, it becomes an extension of the person playing it. Morgan gave credence to that adage. He was born and raised in Philly’s Nicetown section. He lived near a trumpet and pianist friend of mine named Don Wilson. Don, who was a few years older than Morgan, told me that Lee used to hang around him, questioning him about the trumpet. One day, Morgan’s older sister Ernestine asked Don what she should buy her brother for his birthday. Don suggested that she buy him a trumpet. History reveals that she took Don’s advice. Morgan went on to Mastbaum High School where he played in the school band. In 1956, at the age 18, he became a member of the Dizzy Gillespie Big Band. Almost two years later, Dizzy broke up the band for financial reasons. But prior to the breakup, Morgan had signed with Blue Note, and began to record for them. Over the years, he recorded two dozen albums for the label. He joined Art Blakey’s Jazz Messengers in 1958 and remained for three years. At one point in his tenure with the very popular quintet, it boasted four Philadelphians, with Morgan, pianist Bobby Timmons, bassist Jymie Merritt, and saxophonist Benny Golson. Blakey hailed from Phillys’ “sister city” to the West, Pittsburgh. Morgan developed a problem with drugs, left the band and returned to Philadelphia to try to break the habit. He returned to music two years later and recorded the hit jazz single “The Sidewinder” for Blue Note, which brought him not only international attention, but was used by the Chrysler Corporation to accompany one of their TV commercials. The auto giant eventually pulled the commercial because they hadn’t cleared its use with Blue Note. He went on to be an advocate for more jazz exposure on radio and TV. He said in an issue of Down Beat magazine, “I’m sure that if they exposed jazz and all the other arts, the people would go for it. But they don’t want to because once people start thinking, they’ll do more and more of it.” From the late 1950s until his death in 1972, Morgan made music with many of the great names in jazz, including John Coltrane, McCoy Tyner, Hank Mobley and Joe Henderson. The coda leading to his death by gun fire, came during an argument with his long time lady friend in a New York City jazz club, ironically called Slugs. She took a gun from her purse and shot Morgan in the heart as he was about to take the stage. He died at the scene. He was 33. Helen More spent six years in prison before being paroled. She passed away in 1996, granting an interview about the incident just one month before her passing. For a taste of Lee Morgan’s technical ability and great lyricism, try Music for Lovers on Blue Note. He is also at his best on the Jazz Messenger CD, Like Someone in Love. Note his horn’s “near human speaking voice” on the selection “Sleeping Dancer, Sleep On.” ■ Bob Perkins is a writer and host of an all-jazz radio program that airs on WRTI-FM 90.1 Mon-Thurs. 6 to 9pm & Sun., 9am–1pm.

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About Life


SKILLFUL COMMUNICATION GOOD COMMUNICATION IS AN essential part of a healthy and thriving relationships. Being a good communicator is the product of mastering a set of skills and practicing them with everyone we meet. Frequent practice is the best way to hone this skill set and bring it to a high level of proficiency. Message Sent/Message Received The message sent by someone becomes that person’s responsibility to get the message across to the other person. It may take a few attempts to restate or reconfigure words and intonations to make sure the message sent is communicated clearly. In this case, a good communication is more important than a fast or clever communication. Yelling a message usually results in a person hearing the volume but not the real content of the message. It also suggests that the sender is not calm enough to be clear. The job of a listener is to make sure that he or she is receiving the correct message. This is achieved by repeating back key phrases in the message so the sender can verify that the message sent is the same as the message received. This is what it means to be an active listener. The next step is to “validate the other person’s reality.” Validating the other person’s reality tends to make a person feel heard and understood. Agreeing with the other person is not necessary for effective communication—however, validation is the cornerstone of effective communication. The speaker should be allowed to finish their sentences and receive validation before the other person speaks. Interruptions kill off the fluidity and effectiveness of communication. What Not To Say There are several things not to say in the course of communication: “Don’t feel that way.” Most people don’t like being told how to feel. While feelings are not facts, they’re central to each person’s reality and inner experience. Telling someone what to feel or what not to feel is experienced as an invalidation. When people feel invalidated, the real conversation and communication cease to occur. ”You’re wrong.” Saying this is the wrong way to reach a deeper understanding, as well as a surefire way to truncate a good conversation. It’s better to choose getting along over needing to be right. “You’re crazy.” Being dismissive, judgmental and critical sends a message that the connection to the other person is not possible or desirable. In short, communication over. “But...” The word “but’ is a disjunctive, which means it separates two parts of a sentence, for example, “I love you but...” “But” puts the focus on the words that follow and disconnects them from the “I love you.” This use of “but” is generally heard and experienced as disregarding the first part of the message because the real message is “but I don’t like you or what you’re saying.” “But” is most often heard and experienced as invalidating. Defensive vs. Safe Becoming defensive is the easiest trap to fall into. Defenses arise when people feel afraid or threatened in some way. The fears or threats don’t even have to be real for defenses to manifest in communication. When things become defensive for one or both people in a communication the best thing to do is to discover how to make things more safe and less defensive so better communication may ensue as a result. Since defenses are fear-based, there are several ways of reducing it: Agree to end the interaction until both parties have calmed down and feel better about trying to communicate again; Agree to a short and specified time-out; Try using a phone, email or text format to slow down the interaction and to eliminate visual cues that might be upsetting; Agree to tape record the conversation, because people are much more careful and polite when they know they’re being recorded; Agree to seek professional help to mediate conflicts in a safe environment. Freud defined intimacy as “...being close, with relatively little or no defensiveness.” When intimacy increases, people are able to communicate freely and fluidly from mind to mind, heart to heart and soul to soul. ■

Jim Delpino is a psychotherapist in private practice for over 33 years. Email: jdelpino@aol.com Phone: (215) 364-0139.

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PARIS BISTRO & JAZZ CAFE “MIXED CROWD AGAIN,” MY wife whispered as we settled into a comfortable banquette in the Paris Bistro & Jazz Café, Chef Al Paris’ spiffy, boisterous, spot-on homage to the French brasserie/ bistro/ bar genre. Old and young, well-heeled and casual, tweedy and tie-dyed—all blend homogeneously—just as they do at Heirloom, Chef Paris’ other Chestnut Hill gem located a few paces to the north. Kudos go to Chef Al who has helped Chestnut Hill find dining mojo for, arguably, the first time since the high-profile heyday of the quirky Chef Tell Erhardt. Locals and an emerging army of foodies, lured by the likes of Heirloom, the Paris Café, and Micah, are savoring the renaissance of this staid, sophisticated old Philly ‘hood into a foodie nexus. The Paris Bistro deepens the local pool of choices, adding not only the authenticity of French bistro cuisine but also the vivacity of French style. Paris Bistro’s bustling interior corrals the joie de vivre at the soul of the bona fide French bistro and Italian osteria. The food and menu are superb. These days, the bonne bouffe (“great food” in French) at Chestnut Hill’s Paris Bistro is arguably superior to many counterparts in the City of Lights. In fact, a recent New York Times article recounts the slippage in the quality of French cuisine that’s furrowing Parisian brows and demeaning France’s culinary tradition. Based on recent trips to Paris, my wife and I have noted just that. The gastronomic gap between France and the USA that wowed us decades ago on halcyon trips to France, has narrowed, if not vanished. Parisian restaurants still vaut le voyage (“are worth a special trip”) as the Michelin Guide would say. But so do ours. So does the Paris Café, which will even please French ex-pats, who receive a welcome Champagne cocktail on the house simply by showing proof of their French citizenship. Hors d’œuvres include de rigeur Escargots & Pernod Butter. Served on the classic dimpled plate, each individual escargot comes capped with brioche, which is crisp on the outside and yieldingly soft inside. The hint of anise in the Pernod-infused butter is perfect. Tartare of Salmon is dolloped with chopped eggs. Capers and red onions supply poignant counterbalance. Among the Hors d’œuvres, my favorite is Cauliflower & Comté Custard. The custard texture is so swooningly silky that this dish alone is worth the trip. Honeyed balsamic lends delicate finish to Roast Beet & Boursin Salad made notable by the creamy delicacy of the housemade cheese. Salade lyonnaise brings a plate of frisée stocked with uncommonly rare lardons brightened by a sunny-side-up egg. Classic Salade niçoise is a lusty, fresh version of the French favorite. The Cassoulet is stocked with more meat than any I’ve ever had on either side of the Atlantic. The mass of white beans is chockfull of house-made garlic sausage and pork belly. Notching up the carnivore clout, there’s also a duck leg planted Excalibur-like in the mass of beans. Skate Wings floated in zingy sauce vièrge with a healthy side of carrots and crushed olive potatoes is delectable. A vegetarian ratatouille crêpe stocked with eggplant, zucchini, and tomatoes is savory and filling. Other Main Courses worth the trip are Crêpe du Jour; Rabbit Fricassé with mustard cream, mushrooms, and egg noodles; and the Paris Bistro Burger—a lavish version of the American classic on brioche slathered with sweet pepper relish coated with Gruyère cheese with sweet pepper relish. Desserts, all house-made, include Parisian Almond Cake and a sinful Chocolate Grand Marnier mousse. The pucker of lemon curd slathered atop a crêpe that’s speckled invitingly with flakes of powdered sugar makes an ideal base for a mound of raspberries and strawberries in fruity coulis. Daily Classics from Tuesday through Sunday plumb a trove of French classics. Choices include Frogs Leg Provençal, Tuesday; Coq Au Vin, Wednesday; Marseille Bouillabaisse, Friday; and Côte de Bœuf, Saturday. And true to bistro form, a selection of Oysters and Shellfish is available daily as well. I’d be remiss not to mention the Jazz Café part of the Paris Bistro & Jazz Café. The downstairs Jazz Café, sultry as the classic Parisian boîte with its red-curtained wall and plush banquettes illuminated by wall sconces, is an awesome venue for music lovers. Check the website or call for the performance schedule. Some of Philly’s top acts are on the playbill, and the full menu and full bar are available during the performance. Best of all, particularly for the jazz-uninitiated, you needn’t feel out of place. Everyone fits into the crowd here. ■ Paris Bistro & Jazz Café, 8229 Germantown Avenue, Philadelphia. (215) 242-6200. www.parisbistro.net 34 ■ I C O N ■ S E P T E M B E R 2 0 1 4 ■ W W W . I C O N D V . C O M ■ W W W . F A C E B O O K . C O M / I C O N D V




HOTEL Modern Cuisine h Classic Comfort Corner of Swan & Main Lambertville, NJ 609-397-3552 W W W . F A C E B O O K . C O M / I C O N D V ■ W W W . I C O N D V . C O M ■ S E P T E M B E R 2 0 1 4 ■ I C O N ■ 35

Sally Friedman To the teachers of my grandchildren


SO THEY’RE COMING BACK to you. The seven children of my children, little ones and not so little ones, are returning to you this month. Two are off to college campuses, presumably prepared for life on their own. Hannah and Sam have finished their summer jobs and are itching to head for their independent, complicated young adult lives, one on a campus with grassy quads, the other in the heart of a teeming city. I wish them Godspeed...and safety. But it’s the five younger ones I think of most on these early September days. For the past couple of weeks, they’ve been wondering about you. The shine of midsummer has faded, and there’s been the annual scramble with their parents to get ready for real life. And of course, real life includes you. Some of you will be returning to classrooms with too many kids, too much paperwork, too much hierarchical interference. You may feel discouraged and defeated by the political firestorms about education in this country. Who can blame you? Teachers are such a special breed. And not enough of us understand and appreciate that. I hope I do because once, a lifetime ago, I was one of you—a shaky, terrified rookie fresh from my university’s school of education and facing my first class of eighth graders hoping to convince them that grammar was relevant. I was so timid, so uncertain of the beat—the vibe—or whatever they call the air that crackles in a classroom during those first September days. So yes, I know how the attention of kids scatters in a classroom like so many autumn leaves. I know about the bottled-up energy that seems capable of powering the Rocky Mountains. Yet still I ask so much of you for the sake of my own grandchildren. I ask you to know that the youngest of them, little Carly, told me during a walk on the beach this summer that she was afraid you wouldn’t like her. At nine, Carly is still learning the world, but her fear of rejection, even before she ever meets you, nearly smashed my heart. Who knew that she worried about such things? Her reason: she’d forgotten how to spell some big words over the summer. And for that, you might not forgive her. Carly’s big, brave sister Emily doesn’t say such things now that she’s a sixth grader. But that doesn’t mean she isn’t feeling them. And more. Already, Emily is surveying the social scene and desperately waiting to see the list of kids in her classroom. She’s at the brink of sorting out what’s cool, where she belongs, and with whom. Danny, her red-headed dynamo of a cousin, the delicious jokester with a well-hidden deeper side, is at that juncture too. But will you, Danny’s teacher, recognize that despite that life-of-the-party demeanor, this little guy has that other dimension? Jonah, our high school freshman, may grow up to win a Pulitzer or a National Book Award—I’m predicting a literary career—but his worries are now about staking out his unique destiny at the very age when that seems overwhelming. It wasn’t so long ago that dreamy Jonah was off somewhere in solitary delight, but now, he’s in that wild country of pre-adolescence. I hope his teachers recognize that Jonah is still that solitary dreamer, but that he’s also earnestly trying to connect with peers. And Zay, the high school senior? Don’t let Zay’s nonchalance fool you. This grandmother isn’t buying it. Zay is already in the grip of a culture that demands that they know now—in their teens—what their life’s work will be, how to get into and through college, how to “look good” on their college applications. High schoolers, including our senior, seem to face challenges their parents, just a generation ahead of them, never did. My heart goes out to them; I hope your hearts do, too, as you guide them through this last stage of coming of age. And what a journey. There’s a remarkable synergy in a classroom when one mind connects with another. There’s an awesome opportunity to open not just minds, but hearts. So yes, they’re getting ready to come back to you soon. I hope you’ll remember that each of them is unique, fragile, hopeful, vulnerable and yes, anxious in both senses of that word. And please indulge this grandmother who is asking you—respectfully, humbly and hopefully—to please, please, handle them with care. ■ 36 ■ I C O N ■ S E P T E M B E R 2 0 1 4 ■ W W W . I C O N D V . C O M ■ W W W . F A C E B O O K . C O M / I C O N D V



Now, his old alma mater has invited him to hold an exhibition in a major museum setting. Titled David Lynch: The Unified Field, it will consist of 90 artworks. They will be on view at PAFA’s landmark Frank Furness-designed building, at Broad and Lenfest Plaza in Center City Philadelphia. The exhibition will be located there from September 13 through January 11. The main thrust of the drawings and paintings on display suggests one or more human beings, caught up in the midst of a narrative continuity. More often than not, these figure are presented in a seemingly peculiar sense of scale. The distorted forms are reminiscent of what people often observe in their most puzzling dreams. Frequently, a composition will also include some ambiguous reference to a spatial setting of some kind. Lynch has said the greatest single source of inspiration for his graphic and painted efforts was the city of Philadelphia. Apparently, the abandoned factory buildings, overall atmosphere, and assorted examples of urban decay he saw in the city touched him permanently, at the very deepest level of his intuitive resources “I Burn Pinecone and Throw It In Your House” could well serve as a concise visual scenario for a short surrealistic film. Rendered as a mixed media piece on card stock, it includes a figurative element juxtaposed with words and other object references. The overall image, like many of the other items on view, is eerie, with a spirit of malevolence and a charged whiff of noxious fumes.

David Lynch, “I Burn Pinecone and Throw In Your House,” 2009, Mixed media on cardboard, electrical system and bulbs framed behind plexiglass, 72 x 108 in., Courtesy of the artist and Galerie Karl Pfefferle, Munich, Germany

“Man Eating” is a mixed media work from 2010. The universal act of putting food into one’s mouth makes for a subject that all viewers may identify with. Unlike the majority of the selections in the show, this one is neither grim in expressive content nor especially off-putting in appearance “Woman with Screaming Head” calls to mind certain paintings by Lynch’s favorite artist, the late British painter, Sir Francis Bacon. Interestingly, as repulsive as the picture may seem to be for many spectators, it simultaneously generates a powerful force of attraction that may be described as being no less intensely magnetic than the pull of gravity itself. Psychologically, the artwork brings issues of internal cognitive dissonance into view. In their own odd fashion, they drive degrees of lugubrious unease into the open, in the way that a wellspring of uncertainty make shock waves come into sharp focus. The exhibition is accompanied by a fully illustrated catalog with text by Dr. Robert Cozzolino of the Academy staff and other contributors, well respected for their standing in the field of art scholarship. Dr. Cozzolino also deserves considerable tribute for serving as curator of the entire exhibition undertaking. ■



Matt’s Red Rooster I’VE BEEN A FAN of Chef Matt McPherson’s cooking since his long-ago days at Lambertville’s Hamilton Grill. I’d love to have sampled his repertoire when he manned the kitchen at the Relais

Chateaux resort on Little Palm Island in the Florida Keys, but I never did. The Hunterdon Central High School grad left the Keys years ago and returned home to Flemington. The move was transformational for Flemington. Matt’s eponymous eatery, Matt’s Red Rooster, anchors the Flemington dining scene. But besides enhancing the dining scene, Matt is participating in the reinvention of Flemington, which is striving to recapture its historic legacy and relevance. He lent his clout to watershed projects like rehabbing the Flemington courthouse—a spot that kept the whole world agape when it hosted the Lindberg baby trial, the “Trial of the Century.” Through his efforts and those of other local citizens, the courthouse is now restored to its January 1932, Lindberg-trial countenance. Matt also purchased Flemington’s Union Hotel where he is undertaking a huge restoration project. At

project’s end, the grand old edifice, which hasn’t hosted paying guests since the Eisenhower Administration, will reclaim its Victorian grandeur. Matt also owns the popular Gallo Rosso in the Shoppes at Flemington. Obviously he’s a busy guy. But his jam-packed schedule hasn’t affected the operation at the flagship Matt’s Red Rooster. Dining there is as good as ever. I’ve always respected the attention to detail at Matt’s Red Rooster. As an example, guests are greeted with crusty sourdough bread and an accompanying green-apple balsamic that’s splendid. The uncommon thick texture, which mimics a purée, elevates the bread course, often an afterthought elsewhere, into something memorable. Few aspects of dining are overlooked or diminished here. Most dishes that emerge from the Rooster’s open kitchen brim with panache. Aged cheddar melted into slow-roasted pork looms over and out of a hefty Poblano pepper. But it’s a serpentine streak of lime—sour cream atop house-made fire-roasted salsa—that distinguishes the recipe. And it’s the colorful bloom of red, brown, and maroon Mexican chips that festoon the works and add flair and fun to an otherwise “serious” dish. Likewise the homey asiago-based sauce covering Creole shrimp that are beached atop grits that perk this Dixie-influenced dish. And the succulent Tuna-Avocado Tower that quivers high above a crispy wonton wedge resting on a grove of arugula is a winning venture into Pacific-Rim preparation. I especially loved the soy, rice wine, sesame oil sauce that coats the plate. Rooster’s Signature Grilled Romaine lettuce is a house favorite. Creamy dressing doused with a thick blanket of grated Parmesan ignites each forkful of a long slice of Romaine that harbors a smoky undercurrent. Sherry wine caramelized onion demi-glace unleashes every rich shading in Rojo Coffee-Rubbed Ribeye Steak. In WoodFire Blackened Ahi Tuna, the Chef demonstrates a knack for concocting another take on a popular main dish without overwhelming the main ingredient. House-made tequila-lime beurre blanc sauce— a winsome departure from the ubiquitous soy sauce—makes the tuna sing. Matt keeps his menu current. He doesn’t chase trends and abandon the classic and substantial. I’ve loved several dishes from past menus, like Tilapia En Papillote, which emerged from the kitchen with its succulence entirely intact and an accompanying posse of littleneck clams that further boosted the pizzazz of the main ingredient. But I love the current Sous Vide NY Strip even more. The sousvide technique produces a tasty slab of meat, as fine as any chophouse efforts I’ve sampled. I’m impressed at how his menu consistently grows, expands, and offers a wide range of well conceived choices. Matt’s Red Rooster resides in a gracious old Victorian house on a lovely street in Flemingtion, directly off the town’s main drag. Alfresco dining is especially relaxing and lovely. Inside, the main dining room is laid out attractively, with comfortable spacing between tables that are large enough to comfortably accommodate every course. Obviously, Matt’s multiple projects have not distracted him. Matt’s Red Rooster remains a restaurant to crow about. ■

Email comments and suggestions to r.gordon33@verizon.net

Matt’s Red Rooster, 22 Bloomfield Avenue, Flemington, NJ (908) 788-7050. www.mattsredroostergrill.com


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I OWE YOU ONE By Julian Lim Edited by Rich Norris and Joyce Nichols Lewis

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ACROSS Wax museum founder Marie Many a Jordanian Pacts 1992 David Mamet play Fancy drink garnish Reveal Outdoor dining area with no chairs? __ trading Link clickerʼs destination Inter __ Man of steel? Suffix with 62-Across Thurman of “Kill Bill” Become adept at aerobic exercise? Santa __ Boxer with titles in eight different weight classes Went hastily “Curses.” Sch. with the mustachioed mascot Hey Reb. Kept the dance floor busy, briefly Gets down __ nod: acting honor Biblical name meaning “hairy” Biol. majorsʼ awards Spanish neighborhood known for its kisses? CNN medical correspondent Sanjay __ Ring punch Pay ending Exemplary Hertz opening? Scale fifth “Holy __.” Chaney of old horror films River of Germany Put the cuffs on Author Dinesen Refine, as ore Montréal moniker Texas NLer Pained shrieks Contest to win an objet dʼart? Colluding Userʼs reversal Ancient Indo-European Canadian french fries dish “Why not?” Mudville number __ butter: cosmetic moisturizer Ersatz Drug-induced hostility

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Book after John Britʼs New York signoff? Sound file suffix However, informally Blow a gasket Like weak handshakes Exude Leaf-wrapped Mexican dish TV station mascot? “Once more ...” Tune with many high notes Winter beverages Jewel case holders Rebel against Expand, as a home

DOWN 1 50-50 shot 2 Last syllable 3 Northwest airport named for two cities 4 Sensible 5 Fish-chips link 6 Down Under school 7 Emmy-winning sportscaster Patrick 8 Familiar fruit logo 9 Show again 10 Diplomatʼs case 11 Tang dynasty poet Li __ 12 Subject of corroboration 13 Do some necking 14 Skin malady, perhaps 15 __-Wan Kenobi 16 Contact a provisions room on a shortwave? 17 Get into gear? 18 Perfect Sleeper maker 21 Moto portrayer 24 Pet for Pedro 29 “Thatʼs strange” 32 2013 Literature Nobelist Alice 33 Cough and sneeze, say 34 Comprehensive command 35 Hinderʼs opposite 36 Do-it-yourself floor covering 38 Farmyard sound 41 Sailor, at times 43 2000 Peace Prize recipient Kim __-jung 44 Anniversary bash 45 Tumult 46 Asian New Year 47 Govt. ID issuer 48 Protest singer Phil 49 “Go away.” 50 Buyer of “Gangstaʼs Paradise”?

52 Patronizes, as a motel 53 Sports __ 54 Sandwich ingredient for many? 56 “Check it out.” 57 Adidas founder Dassler 58 Let 63 Internet __: viral item 65 Five iron, old-style 68 Pay homage (to) 70 Domingo number 71 Godsend 73 Harvesterʼs paths 75 Party leaders 77 More certain 78 Pup squeak 79 Roxy Music alum 80 Sushi topper 81 Temp. takers, at times 82 “Iʼm on it.” 84 Resting 88 “__ Aeterna”: Requiem Mass song 89 Omit 91 Sundial number 93 Fancy dresser 94 Not at all settled 95 Forfeited wheels 96 Asleep no more 97 Watch in awe 98 Yet 99 Top story

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Vitamin-rich veggie Gets eaten away, in a way HDTV part, for short Post of good manners Gas partner: Abbr. Prefix with -pus

111 Mental health org. 113 “The Unknown” director Browning 114 Half a dance 115 Coal scuttle 116 “__ be sad if ...”

Answer to August’s puzzle, KIDDIE LIT

Agenda PENN HUMANITIES FORUM Lectures are free and open to the public. Films are free with admission to Penn Museum. www.phf.upenn.edu 215-573-8280 9/17 THE WRITER’S PALETTE With Zadie Smith. 10/8 POLYCHROMY AT HADRIAN’S VILLA. With Bernard Frischer. 10/14 Films: KAKER KOLKATE & MECHO BAZAAR 10/22 INDIGO & PRUSSIAN BLUE. With Roald Hoffmann. CALL TO ARTISTS Art for the Market, 4th Annual Juried Show and Live Auction. 1pm at Grand Eastonian Suites Hotel, Easton, PA. All proceeds benefit Easton Farmers’ Market. Artist submissions accepted thru 9/27. $1,200 in cash prizes. For guidelines visit EastonFarmersMarket.com ART EXHIBITS THRU 9/14 Susan M. Blubaugh: “Reimagining Hunterdon & Bucks.” Reception 8/2, 2-5 p.m. The Quiet Life Gallery, 17 So. Main St., Lambertville 609-397-0880. Quietlifegallery.com THRU 9/21 Performance Now: Visual performance art at the start of the 21st century. Delaware Art Museum, 2301 Kentmere Pkwy. Wilmington, DE. 302-571-9590. delart.org. THRU 9/28 Platinum Visions: Photographs by Thomas John Shillea. Allentown Art Museum, 31 N. 5th St, Allentown, PA. 610-432-4333. AllentownArtMuseum.org THRU 10/12 Shared Vision: The Myron & Anne Jaffe Portenar Collection. Arthur Ross Gallery, in the Fisher Fine Arts Library building, 220 S. 34th Street, Philadelphia. arthurrossgallery.com

THRU 10/16 Atushiko Musashi: The Film of Painting, printmaking and painting. Grossman Gallery, Williams Visual Arts Building, Lafayette College, 243 North 3rd St., Easton. 610-3305361. galleries.lafayette.edu

10/5-10/13 Jay Eisenberg: "Past, Present. Future". Opening recep., 10/4, 68pm. New Hope ARTS Center, 2 Stockton Ave, New Hope. 215.862.9606 NewHopeArts.org

THRU 12/13 Michael Pestel: Requiem, Ectopistes Migratorius. A mixed media, participatory exhibition marking the centennial of the extinction of the Passenger Pigeon. Williams Center Gallery, Main Campus of Lafayette College, 317 Hamilton St., Easton, PA. 610-330-5361. http://galleries.lafayette.edu

10/10-10/12 Art For Conservation. Artists of the Gallows Run benefit to conserve land. Opening reception, Friday, 10/10, 58pm: bid, buy, drink, dance, eat, mingle. Sat., Sunday, 25pm. Rising Sun Farm, 207 Church Hill Rd, Kintnersville, PA grwa.wildapricot.org

9/4-10/5 Flight/Patterns. Work by Jennifer Cadoff and Beatrice Bork. Reception 9/6, 5-8. Artists’ Gallery, 18 Bridge St., Lambertville, NJ lambertvillearts.com

10/4 7th Annual Autumn Pottery Festival. 25 potters, pottery site tours, demonstrations, refreshments & baked goods. $3 adults, under 18 free. Free parking. 9-4. Stahl’s Pottery Preservation Society, 6826 Corning Rd., Zionsville. 610-965-5019. StahlsPottery.org

9/6-10/12 Painting Pennsylvania: A Landscape Show. Opening recep. 9/6, 5-8pm. Patricia Hutton Galleries, 47 West State St., Doylestown, PA. 215-348-1728. PatriciaHuttonGalleries.com 9/9-11/2 Kelli Abdoney & Sandy Alpert, And here we are... Red Filter Gallery, 74 Bridge Street, Lambertville, NJ 08530. Tues.-Sun. 12-5. 347-244-9758. redfiltergallery.com 9/14-10/17 114th Anniversary International Exhibition of Works on Paper. Philadelphia Watercolor Society, Community Art Center, 414 Plush Mill Rd, Wallingford. pwcs.org. 9/17-10/18 Full Circle, Rudy S. Ackerman, A Retrospective. Artist recep. 9/17, 6-8pm. The Baum School of Art, 510 West Linden St., Allentown, PA. 610-433-0032. Baumschool.org 10/1-11/2 Nick D’Angelo: Paintings Achromic VII: “Goodbye for Now.” Rodger Lapelle Galleries, 122 N. 3rd St., Philadelphia. Wed-Sun 12-6. 215-592-0232. rodgerlapellegalleries.com


10/4 & 10/5 Arts Festival Reading. Shop at over 60 juried artisans´ booths. Food and wine/beer garden. GoggleWorks. 105pm. Free parking, $8 admission. artsfestivalreading.com. Handicapped Accessible. ATM. 10/10 Not-Just-ART AUCTION, 7pm preview & reception. Pasta & hors d’oeuvres. 8pm, live & silent auctions. Brookside Country Club, Macungie. Online preview opens 9/30 at biddingforgood.com. 610-434-7811. LVArtsBoxOffice.org 10/12 Art for the Market, 4th Annual Juried Show and Live Auction. 1pm at Grand Eastonian Suites Hotel, Easton. EastonFarmersMarket.com 10/18 Philadelphia Sketch Club’s 150th Anniversary Gala honoring Elizabeth Osbourne, Robert Beck and Moe Booker. Medal presentation, live art auction, silent auction, cocktails, buffet, music. 7-midnight. 215-545-9298. sketchclub.org

10/18 Autumn Alive. Crafters. cupcake contest, food, beer, entertainment, and Pet Parade. 10 a.m.-4 p.m., rain date 10/25. 215-536-2273.QuakertownAlive.com THEATER 9/5-10/5 Antony & Cleopatra, with Esau Pritchett and Nicole Ari Parker. McCarter Theatre, Princeton, NJ. 609-2582787. mccarter.org 9/25-9/28 Maladype Theatre’s take on Alfred Jarry’s satirical, grotesque classic, King Ubu. Touchstone Theatre, 321 East Fourth Street Bethlehem, PA 18015. 610-8671689. Touchstone.org 10/1-10/12 Harvey, by Mary Chase, directed by Matt Pfeiffer. Act 1 Performing Arts, Labuda Center for the Performing Arts, DeSales University. 2755 Station Ave., Center Valley. 610-282-3192. Desales.edu/act1 10/5 Cirque Alfonse Timber. Zoellner Arts Center, Lehigh University, Bethlehem. Free parking. 610-758-2787. Zoellnerartscenter.org DINNER & MUSIC Every Monday, Live guitar with Barry Peterson, 7-10. Karla’s, 5 W. Mechanic St., New Hope. 215-862-2612. karlasnewhope.com Thursday nights: DeAnna’s Restaurant, 54 N. Franklin St., Lambertville, NJ. LIVE JAZZ music/raw bar. 609-397-8957. deannasrestaurant.com. Thurs.-Sat., Dinner and a Show at SteelStacks, Bethlehem. 5-10. Table service, valet parking. artsquest.org CONCERTS 9/7 Gipsy Kings. Zoellner Arts Center, Lehigh University, Bethlehem. 610-758-2787. Zoellnerartscenter.org 9/18-21 OutBeat: America’s First

Queer Festival. Terri Lyne Carrington, Fred Hersch, Andy Bey, Bill Stewart, Patricia Barber, more. OutBeatJazzFest.com 9/20 A Tribute to the Music of Motown. State Theatre, 453 Northampton St., Easton. 1800-999-State. Statetheatre.org 9/21 Satori. Arts at St. John’s, St. John’s Lutheran Church, 37 S. 5th St., Allentown. Suggested donation $10. 610435-1641. Stjohnsallentown.org 10/11 Jo Dee Messina. State Theatre, 453 Northampton St., Easton.610-252-3132. Statetheatre.org

10/18 Classical Music for Today, Emerging Genius. Haydn, Barber, Geminiani. Christ Lutheran Church, 1245 W. Hamilton St., Allentown. 610434-7811. LVArtsBoxOffice.org 11/1 The Bach Choir of Bethlehem 2014 Gala Concert, American Boychoir. Central Moravian Church, Bethlehem. 610-866-4382, ext. 10. Bach.org KESWICK THEATRE Keswick Theatre 291 Keswick Ave., Glenside keswicktheatre.com 9/4 TOTO 35th Anniversary Tour 9/11 From Discovery Channel's Deadliest Catch SIG HANSEN & FRIENDS OF THE NORTHWESTERN $29, $45 & $89 (inc. Meet & Greet) 9/12 CHRIS ISAAK $59 & $75 9/13 BRITISH INVASION 50th Anniversary Tour Gerry & The Pacemakers, Chad & Jeremy, Billy J Kramer, Mike Pender's Searchers, Denny Laine

9/19 PINK MARTINI 9/20 KASHMIR The Look. The Feel. The Music of Led Zeppelin. 10/2 ESPERANZA SPALDING 10/3 From NBC's hit series LAST COMIC STANDING $39.50 & $48.50 10/4 FLYING COLORS Neal Morse, Mike Portnoy, Dave LaRue, Casey McPherson, Steve Morse. MUSIKFEST CAFÉ 101 Founders Way Bethlehem, PA 610-332-1300. artsquest.org 9/12 LYNNIE GODFREY 9/18 JOHN MAYALL 9/25 MUSIC OF LED ZEPPELIN 9/28 EDDIE MONEY 10/3 GO GO GADGET 10/4 DAVE ATTELL EVENTS & FESTIVALS 9/8-10/26 Peddler's Village Scarecrow Competition & Display. Rt. 263 & Street Rd., Lahaska, PA. Peddlersvillage.com 9/9 Tinicum Art and Science High School Open House Day. 4:30-6:00. 85 Sherman Rd Ottsville. 610-847-6980. Tinicumartandscience.org 10/11 Bethlehem Harvest Festival, enjoy fall festivities, food, shopping and fun for the whole family. Main St., Broad St. and the the Sun Inn Courtyard. 11 a.m.-6 p.m., Bethlehem, PA. BethlehemHarvestFestival.com

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Carol C. Dorey Real Estate, Inc. Specialists in High-Value Property www.doreyrealestate.com (610) 346-8800




The picturesque acreage of this intriguing property has the unique advantage of being adjacent to the grounds of Lehigh Country Club. Set amongst a screen of mature trees, the property makes intimate or formal gatherings a delight. With 7,600+ square feet of grand living space, attention to quality and detail is evident in the breathtaking 2-story foyer, sunken living room, and gourmet kitchen. Palladian and walls of windows allow for full exposure to the beautiful views from every room. The amazing location provides convenient access to LV Hospital, Air Products, I-78 and the PA Turnpike. $1,295,000

Featuring exceptional amenities and a sophisticated interior, this 2006 built home offers more than 5,000 square feet of living space, 9 foot ceilings, and a walkout lower level with home gym and plentiful storage. There are four en suite bedrooms, including a sumptuous resort-quality master bedroom with four walk-in closets, sunken tub overlooking the private and peaceful backyard and oversized shower. A gleaming kitchen boasts granite surfaces, breakfast area with access to private deck and flows beautifully to the two-story family room with magnificent wall of windows. $699,000

Set atop a hillside on a quintessential country road, this late 1700s stone farmhouse has wonderful 21st century amenities. With nearly 20 private acres, the Upper Bucks County location is a perfect weekend getaway. Three fireplaces, wide pine plank floors, deep window sills and beamed ceilings accent the charming rooms. An intriguing floor plan boasts formal living and dining rooms, a library, kitchen with adjacent gathering room, and a lower level with two en suite bedrooms, office and private entrance for guests. The detached garage and stone and wood bank barn provide storage for boats and cars. $1,150,000




This unparalleled residence is set on private grounds in a superb Lehigh Valley neighborhood. Barrington Manor exudes timeless style with a full brick exterior, gated entrance and 16,000+ sqft of living space. Lustrous wood floors, and solid wood doors accent the rooms, large and gracious in scale. There are 5 en suite bedrooms, a kitchen with antique Verde marble counter tops and breakfast room with an octagonal ceiling, and a LL with indoor lap pool, fitness room, home theatre and full kitchen. This home also boasts an outdoor pool, 8-car garages, apartment, and easy access to NYC and Philly. $2,990,000

This home offers sophisticated details distinguishing it from the ordinary. Hardwood floors and 9ft. ceilings accent most rooms on the 1st floor. A kitchen is a lovely blend of aesthetics and functionality with cherry cabinetry, granite, stainless high-end appliances and a breakfast area. An impressive family room, with skylights and an 18ft. cathedral ceiling, is anchored by a brick fireplace. The views and amenities are relaxing and soothing, while the window placements showcase the backyard, deck and patio. There are many reasons to appreciate this exceptional home and even more reasons to settle in and enjoy the beauty. $499,900

Set on 2.28 manicured acres in The Manor, this wonderful retreat-like home is unparalleled for leisure and recreation. Airy and bright, with a flowing floor plan, oversized windows bring sunlight into sophisticated gathering spaces. The first floor master bedroom suite has an adjacent sitting room, two walk-in closets, jetted tub and double-sided gas fireplace. The lower level has been designed with entertainment in mind – a full bar with sink and refrigeration, fireplace, billiards/game room and an incredible home theatre with multi-level seating. Outdoors, a heated pool, shade trees and brick patio beckon for outdoor festivities. $795,000




An exceptional opportunity awaits those who appreciate the craftsmanship and significance of a 19th century home, stone bank barn, and guest house on 4+ acres in Lehigh County. Random width pine floors, deep silled windows, Mercer tiles, wood-burning fireplaces and period details. The original summer kitchen has been converted to a kitchen, breakfast area, and family room. Parking for five vehicles and heat, water, and electric provide flexible space in the barn for an artist’s studio or office. A refreshing pool, charming pool house, and guest cottage with kitchenette, bedroom and full bath are a welcome addition when entertaining. $750,000

A winding flagstone walk leads to the entrance of this stone 1948 gem, while a romantic front door beckons welcome to a delightful interior of whimsy and sophistication. Inside, there are wonderful details such as a Moravian tile foyer, handsome moldings, rounded window cheeks, Moroccan arched doorways, plaster walls, bay windows and a fireplace with Moravian tile surround. A wonderful southeast windowed library overlooks the private 7.55 acres where there are mature specimen plantings and towering old trees. $535,000

The contemporary flair of this Saucon Valley home mixes well with the beauty and landscaping of the lovely homes on quiet Merryweather Drive. Captivating angles highlight the timeless design – offering high ceilings and open spaces for today’s family lifestyle. All natural materials on the exterior are mirrored on the inside with distinctive maple floors and a fabulous floor-to-ceiling, see-through stone fireplace in the 22 ft vaulted great room. The core of the home is this magnificent room, bathed in light through oversized windows that bring the outside in, capturing pristine hillside vistas and a kaleidoscope of seasonal colors. $649,000

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