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Chris Siefferman The Oasis, St. Augustine (471-3424) Sugar Bear Harmonious Monks, Mandarin (880-3040) Band of Destiny Square One, Jax (306-9004) Nolan Neal Fly’s Tie Irish Pub, Atlantic Beach (246-4293) Goliath The Casbah, Jax Pepper, Mad Caddies Freebird Live, Jax Beach (246-2473) Effed Brewsters Pit, Jax (223-9850) Out of Hand Your Place, Jax Beach (221-9994) Stu Weaver Harry’s, St. Augustine (824-7765) TUESDAY, MARCH 13 Second String Sun Dog Steak & Seafood, Neptune Beach (241-8221) Matanzas Trade Winds Lounge, St. Augustine (829-8646) Christina Wagner & Friends Mark’s Downtown, Jax (355-5099) Dr. Dog Café Eleven, St. Augustine (460-9311) Steven James Empire Coffee, Jax Ace Winn Duo Copeland’s, Jax Will Pearsall The Mill Top, St. Augustine (829-2329) Dave Massey Kickback’s, Jax (388-9551) Bush Doctors Cortesses, St. Augustine (825-6775) Ron Perry Fionn MacCool’s, Jax Beach (242-9499) The Handshake Murders Thee Imperial, Jax (475-0488) Bill Rice Mellow Mushroom, Jax (997-1955) Adrian Legg Café Eleven, St. Augustine Out of Hand Palace Saloon, Fernandina Beach Mike Hart The Oasis, St. Augustine (471-3424) Jimmy Solari My Place, Jax (737-5299) Steve Sebby Jack Rabbits, Jax (398-7496) Seth Ramsdill Fly’s Tie Irish Pub, Atlantic Beach (246-4293) El Toro Loco Square One, Jax (306-9004) TUESDAY-WED., MARCH 13-14 Gene Nordan Mackenzie’s, Ponte Vedra (543-9143) WEDNESDAY, MARCH 14 The Cover Band Spare Time Grille, Jax Beach (246-8099) Mystic Dino Ocean Club, Jax Beach (242-8884) Cloud 9 Latitudes Café, Atlantic Beach (247-6606) Hey Hollywood Brewsters Pit, Jax (223-9850) Dave Massey My Place, Jax (737-5299) John Waters The Oasis, St. Augustine (471-3424) Ron Norris Urban Flats, Ponte Vedra Glass Camels The Homestead, Jax Beach Nimble Jim, Hey Hollywood Brewsters, Jax (223-9850) De Lions of Jah Freebird Live, Jax Beach (246-2473) Wes Cobb Band Square One, Jax (306-9004) Crystal Stafford, Aerial Tribe Starlite Café, Jax (356-4444) Conrad Oberg London Bridge, Jax (359-0001) Stu Weaver The Mill Top, St. Augustine (829-2329) Viscious Rumors Jack Rabbits, Jax (398-7496) Eric Dawkins Mellow Mushroom, Jax (997-1955) The Mike Miller Band St. Nick’s Lounge, Jax (396-3396) El Toro Loco Aromas, Ponte Vedra (280-2525) Livid Snookers, Jax (696-0714) Bruce in the USA Freebird Live, Jax Beach (246-2473) Chuck Nash Sun Dog Steak & Seafood, Neptune Beach (241-8221) Pili Pili Fly’s Tie Irish Pub, Atlantic Beach (246-4293) Dave Massey My Place Bar & Grill, Jax (737-5299) 24 march 8-14, 2007 | entertaining u newspaper inducted into the jax jazz festival hall of fame von barlow interview by Rick gRant rickgrant01@comcast.net Deservedly, my friend and master drummer, Von Barlow, was just inducted into the Jacksonville Jazz Festival Hall of Fame on Tuesday, February 27 th . It was a great honor for this musical titan, whose star lineage goes back to Ray Charles’ recording studio, hanging out with Redd Foxx and playing Woodstock with the late great O.C. Smith. Over the years I’ve lauded Von Barlow’s stellar drumming in many different playing situations. Yes, as Dizzy Gillespie would say, Von has bull chops, and he is the first drummer anyone thinks of if they need a substitute traps man. I talk to Von frequently just to chat, so it wasn’t a stretch to call him about his induction ceremony. Von was humbled by the honor and a bit befuddled as to what he would say. During the Jazz Festival events, Von will be playing at the Piano Competition with Noel Friedline during the time the judges are deliberating. Regularly, though, Von pops up with various groups like Longineu Parsons at Simons, where I last crossed paths with him. Unequivocally, I consider Von to be the best drummer I’ve ever heard. And believe me, I’ve heard a representative sample of the best stickmeisters in music. Von can hold his own with all of them. “The Mayor’s office called me Thursday before the event on that next Tuesday at City Hall. I went numb and I had no idea what to say. So after a day of reflection, I pulled myself together to write a little acceptance speech. It was a great honor and, although I never get nervous before a gig, this caught me off guard and stopped my circulation. Man, I was flabbergasted.” “Receiving this honor made me nostalgic about the past when I lived in Los Angeles from 1962 through 1972, and hung out with Ray Charles and Redd Foxx at a recording studio near where I lived. I used to go to Redd Foxx’s club and hang out with Redd. When I traveled to NYC to play gigs with groups at the Apollo Theater, I’d run into Bill Cosby and Redd Foxx. Cosby used to joke with me and try to get on my drum set. Bill plays drums, but not seriously. He’d be smoking his cigar and joking with me. At the time, it was funny, but after a while I got annoyed with him. But later, when he became such a big star, I felt honored that he took the time to joke with me.” “I knew Lou Rawls, who was on the bill with the groups I was playing with at the time. I guess you could say my big break was joining O.C. Smith’s band right before his big top ten single God Didn’t Make Green Apples hit big. That put him in a dif- GET YOuR MOJO WORkiN’ Von Barlow Joins Blues Master Calvin Newborn, March 10 ferent league and his record company, Columbia, booked him all over the world on a bill with Lou Rawls, Bill Cosby, Herb Albert’s Tijuana Brass and Richard Prior, plus other comics like Redd Foxx’s rival Slappy White. As fate would have it, I ended up at Woodstock with O.C. Smith and met Jimi Hendrix and the other luminaries playing at what turned out to be a legendary event. I had never seen so many people in one place before. It was literally a sea of humanity. So it was a memorable gig. The pot smoke was so thick backstage, I couldn’t see anything.” “Later we went on to play the Monterey Jazz Festival, Madison Square Garden, and the Apollo Theater. I toured the world with O.C. riding that one hit for ages. But O.C. had a whole catalogue of his original material that people loved. So, he was able to capitalize on the one hit and expose his other material to vast audiences. For some years I played with Ben Tucker, who brought in renowned guest artists at Hannah’s in historic Savannah. I also played with the Hilton Head Jazz Society. Lately, I’ve played many gigs with my friend Longineu Parsons’ Tribal Disorder ensemble. I’ve traveled to Morocco with Longineu to play for the King. I’ve played many gigs with Longineu in France, Spain, and Italy. So, life is good and I’m grateful to all those who have helped me including you, Theresa O’Donnell-Price, who has always gone to bat for me, and many other journalists and friends,” Von Barlow said. Indeed, Von is a man for all seasons. In music, he has been everywhere and done everything. Von’s nuanced playing is always musically interesting, and in context with the focus of the ensemble in which he is playing. Von plays the drums with sensitive dynamics and creative improvisations. Von is one of a few top drummers who treat the drums as a melodic musical instrument, making the traps sing with sweet vibrations. Von Barlow joins Memphis blues living legend, Calvin Newborn for an unparalleled performance at MoJo Kitchen Barbecue Pit and Blues Bar at 1500 Beach Blvd. MoJo is known for serving some of the best barbecue in town and featuring some of the finest blues-centered, original folk paintings in the area on their walls. Add live blues by legendary performers to that list of things MoJo brings to Jacksonville and you begin running out of reasons not to check out their new location at Jacksonville Beach.
the symphony goes west the Masterworks Series features American composers by jon boswoRth jaxvillain@yahoo.com Does it make me base and pedestrian when a live performance by the Jacksonville Symphony Orchestra reminds me of a Tom & Jerry cartoon? At times I couldn’t get the cartoon images out of my mind’s eye. I was trying to be sophisticated. Some of the symphony-goers around me closed their eyes and deeply contemplated the notes being played without the distraction of other audience members or the conductor’s gestures four beats ahead of the music, but when I tried all I could see was Tom and Jerry in their Western duds, chasing each other around. The symphony seems like a drastically new and vibrant mission to me each time EU sends me to review a performance. Usually I sit in one of the balcony seats, because I enjoy watching the individual players step out of the cascading rhythm of bows and shoulders as the sections of music diverge and collide. From this vantage-point. The symphony is more than an aural experience, it has a visual element. It is an enormous dance of unintentional choreography that perfectly matches the music, obviously, since it is solely the creation of this complex music that causes the actual movement of the performers during any musical movement. This time our seats were on the floor, so I learned to watch the symphony in a new way. And I learned to devote more attention to the tonality of the performance. We were also right next to a seated volunteer usher who was incredibly excited about the music, but persistent about the correct times to clap. Early in the second movement, Serenade, from Plato’s Symposium, composed by New York’s own Leonard Bernstein, featuring Israeli transplanted, Ukrainian violinist Vadim Gluzman, soloing in front of the Fabio Machetti-conducted Jacksonville Symphony. His deep grasp of the energy latent in each tishamingo album review Artist: Tishamingo Title: The Point Release Date: 02.15.2007 Label: Intrepid Artists Listening to Tishamingo’s newest release you can’t help but think: Damn! That there’s some hard Southern rockin’ blues! As a band their sound has coalesced and aged since the band formed, over piece was matched by his apparent enthusiasm while perfectly executing each note, nuanced and sculpted, as he teetered and pitched before the musicians in the symphony. He would turn, while frenetically engrossed in the solo, and look to the symphony as they seemed to play orchestral responses to his solo. It was a dynamic conversation with no words spoken. Everyone burst into applause after the fourth movement, Agathon, and we eagerly joined them, clapping polite golf claps when the urge was to yelp and belt out a painfully loud clap. He should know how amazing we think he is! But the usher did not want the rules broken and so she waved and motioned for us to stop clapping. Leaving us sitting there watching everyone else in the auditorium clapping appreciatively, while we sat with our hands in our laps as though it wasn’t good enough for us. My mother insists that the inappropriate applause is a good thing, it shows that a new, younger audience is filling in seats, and that means the JSO has new blood and culture in this city. Personally, I would rather impulsively applaud when something moves me (as long as it is not over a piece in progress) then memorize a set of stodgy old rules. On the other hand, the sophistication of the symphony is part of what makes it the tradition it is, so maybe we shouldn’t Happy Gillmore it. Vadim Gluzman played his 1690 Stradivarius, on extended loan to him from the Stradivari Society of Chicago, with a mastery that I couldn’t even fathom. This was old world skill. Mr. Gluzman not only intricately understands his craft, he is intimately aware of the entire composition within the piece he is performing. Having studied under many of the world’s finest virtuoso’s, he has earned a place among world-class musicians that is impossible to comprehend until you hear him. the past five years and the three records they’ve released. They’ve been consistently musically solid, but they seem to have found their identity on this record. You’ll be reminded of early ZZ Top, the Allman Bros., Aerosmith and Zeppelin. The blues tinged, jam band sound is just the thing for dirty neighborhood bars and rock ‘n roll parties. These boys formed their band right here in Northern Florida, though they’ve moved on to Athens, GA and are now based there. Their Southern roots definitely show on this album with more than a smattering of soul, Deep South blues, hard driving rock and country. Setting the tone for the album is the gritty ‘Get on Back.’ Their label of a neo-hippie jam band is stretched as they flex their collective musical muscles, though I’d say that the label still sticks. ‘Tennessee Mountain Angel,’ touted as the most Skynyrd-esque, was the weakest of the tracks with a fairly derivative sound that veered a little too far into the area of country music for my taste. (Not that I don’t love a good country album, but this isn’t a country album). It’s redeemed somewhat by the last verses, when it picks up a bit and comes back a bit to a straight ahead rock sound. The last track, ‘Devil’s Love Song’ was a fun, gimmicky, song but in some way it seemed slightly out of place on this album. Listen for Jess Franklin’s contributions on While the American media parades young hipster violinists, such as Joshua Bell, before us to provide a new spin on an ancient craft, we can look at a performer such as Mr. Guzman and appreciate the value of a lifelong pursuit of mastery, and a sort of mastery that transcends concert halls and fits into a larger, timeless category. And yet, in spite of this transcendence, the piece was wrought with identifiable country-Western, almost bluegrass, tones and sensibilities. That is to say that this amazing classical player was still able to bust out an almost fiddle style amidst all of the complexity of this symphony. Which perfectly matched the theme of the overall performance. Featuring three pieces by three American composers, the opening piece Bright Blue Music was composed by Michael Torke, a Midwesterner, and the final piece was The Grand Canyon Suite by Ferde Grofe`, a Californian when he passed, so the presence of a Western theme presided. The Grand Canyon Suite is the piece that made me feel pedestrian. I certainly don’t mean to berate either the work or the musicians who performed it, obviously they executed it at least as well as whichever orchestra recorded the piece that the Tom & Jerry cartoon used. Again, my mother comes to my defense in this concern. She always let me watch Looney Tunes and Tom & Jerry. She said she didn’t mind the exaggerated violence, as long as it was exposing me to Brahms and Tchaikovsky. The Grand Canyon Suite articulately painted five scenes for the listener that was not wracked with Tom & Jerry guilt. The opening movement was Sunrise. This piece eeked in gently and lead to The Painted Desert, which was a jovial piece with a light spirit. From the desert we enjoy a frolicking gallop On the Trail, then on to the gentle but foreboding Sunset. The piece concluded with the dramatic and explosive piece called Cloudburst, which presented a violent thunderstorm complete with wind and lightening, but every dramatic moment was told in music. As usual, the Jacksonville Symphony Orchestra plays so perfectly that you leave without a doubt in your mind about the quality of the show that you observed. The JSO is still the best buy for live music in town, because they are not only professional, showcasing their ability to perform with world-class talent, they are also gracious and patient with those of us just ignorant enough to clap when we feel it, but still interested enough in a great show to attend. his electric piano, which rocks nearly as much as Cameron Williams and Franklin’s guitar lines. Tishamingo is well on their way to stardom, or at least some measure of fame. Like Mofro, they headlined the third annual Down on the Farm Festival in Quincy, Florida. Not only that, they recently toured with Lynyrd Skynyrd, .38 Special and Sister Hazel on the “Gimmie Three Days” cruise. They’ve been all over the tour circuit, hitting Europe twice and cinstantly touring the U.S. They played at Bonnaroo in Tennessee, playing to a capcity crowd despite a time slot against the very popular Radiohead. As Tishamingo proves on The Point, they just play damn fine music. It doesn’t do anything ground breaking and pays homage to a ton of bands, but it does distill some of the things we like about Synyrd, AC/DC and classic jam bands. It’s simple, and more importantly, it’s fun to listen to. Their live shows are what built their enthusiastic fan base, and you can catch them live on March 17 th at the Great Atlantic Seafood Festival in Jax Beach. If you can’t catch them live and you like a great jam band and Southern rock, pick up a copy of their latest CD and rock out! - BY ERiN THuRSBY upcoming shows The Emotron March 16, TSi Hoods March 16, Thee imperial, 475-0488 Lucinda Williams March 16, Florida Theatre, 355-2787 The Templars March 17, Thee imperial, 475-0488 The Temptations and The Four Tops March 18, Florida Theatre, 355-2787 Alabama Thunderpussy March 20 Jack Rabbits Tom Rush March 21, Cafe Eleven, 469-9311 Cold War kids March .22, Cafe Eleven, 469-9311 The Futurists March 23, Thee Imperial, 475-0488 Astronautalis March 23, TSI Anoushka Shankar March 23, Florida Theatre, 355-2787 Shangrala March 23, 9 th & Main Bonde do Role March 23, TSI Vince Gill March 27, Florida Theatre, 355-2787 The Duhks March 28, Freebird Live, 246-2473 Leo kottke March 29, Florida Theatre, 355-2787 Antigravity March 30, Lazzara Hall at UNF, 620-2878 I Survived a Shark Attack March 30, Thee Imperial, 474-0488 Lamb of God March 31, Plush Comeback Kid April 1, Thee Imperial, 475-0488 Of Montreal April 1, Freebird Live, 246-2473 Tres Bien April 6, TSI Tom Jones April 9, Florida Theatre, 355-2787 Plain White T’s April 10, Freebird Live, 246-2473 The Cadets April 15, TSI Clap Your Hands Say Yeah April 20, Freebird Live, 246-2473 Ellis Paul April 20, Café Eleven, 469-9311 kenny Chesney April 21, Jacksonville Arena, 630-3900 Julius Airwave April 28, Freebird live, 246-2473 George Thorogood May 1, Florida Theatre, 355-2787 Patty Larkin May 6, Cafe Eleven, 469-9311 Mono May 8, TSI Relient k May 12, Freebird Live, 246-2473 eujacksonville.com | march 8-14, 2007 25
Page 1 and 2: JACKSONVILLE the king has arrived D
Page 3 and 4: table of contents feature Spring Br
Page 5 and 6: calvin Newborn He played on B.B. Ki
Page 7 and 8: may/december Venus movie review by
Page 9 and 10: have yourself a retro fun time at t
Page 11 and 12: eujacksonville.com | march 8-14, 20
Page 13 and 14: iveting plot, hip actors The Black
Page 15 and 16: making the ordinary extraordinary M
Page 17 and 18: eujacksonville.com | march 8-14, 20
Page 19 and 20: 30 things to do this spring break b
Page 21 and 22: musical changeling Chad Jasmine at
Page 23: modern bluegrass interview with Cad
Page 27 and 28: on the rocks an art showcase at the
Page 29 and 30: pack of lies Theatre Jacksonville r
Page 31: Random thoughts from a cluttered mi

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