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Show n n 1 Li j LJ Lj LJ LI THE STOVE TAKES Lj y 3 l i' L3 by jamie gadette & luciano marzulli vargas 1OW A Anthem Red Sixty Stories SmaNman Records ay it isn't so' The Salt Lake C;ty music scene is losing one of its most vibrant con tributors. The Stove is skipping t'j.vn to pursue dreams of Not one to disappoint, U,e band scheduled a night of ceremonious closure before imminent fmal departure. It's 10 p.m. and as the Sabbath creeps to a close, Kristen Muirhead, the lead singer of The Stove is just getting started. She stands majestic under red spot- f r (jran-sieur- of rV - i vj -- n l: e art-scho- ol . alta-sopran- sp.irsely scattered around the club Muirhead exudes ease and comfort not the sort of qualities usually associated with jittery bride-- to be. The night marks a milestone for tin' local "organic electronika" outfit. Not only is the group making professional leaps and bounds, but two of its members ire also diving into previously unchartered territories of their personal relationship by jumping :. we Jded bliss. The marriage of Eduard (uughov (who immigrated to Salt Lake City from Russia) and iWnrhead will be The Stove's last .appearance at the Zephyr before t!"' newly weds pack up and relocate to Seattle. Wash., where their -- , -- JG .,,..O.....MJ.W....,t, ........... . Vertical Vision Christian McBride Band Warner Brothers 0 J Fans expecting a second set after (vocals) and Katya Murafa (violin) came together to channel their musical visions into one solid outlet. A unique blend of hip hop, early jazz, electronic and Eastern European genres contributes to the distinctive character. The Stove aims to obtain a balance "between acoustic and digital sound," according to the band's Web site. Tonight's shew boasts the fruits of the band's determined labor. Muirhead slides through a set with Murafa doing double-dut- y on piano and violin. The key strokes are traditional and structured, however standard keys are layered over rapid drum and bass beats, resulting in an unpredictable, pace. The sultry siren sings of angel eyes and Purtishead influenced sound is certain to flourish. Instant romantic and creative energy surged between the two upon their initial encounter in the summer of 1998. Glughov and Muirhead wrote their first song together on the day they met. Since then, The Stove has made serious headway. Originally known as The Unknown, the group soon ditched the featureless moniker before setin favor of on the authoritative tling title currently heading club marquees across the valley. Glughov (beats), Muirhead y oven-friendl- off-kilte- The Stove's wedding didn't get one. cowboys, the latter of which offers "temptations too strong." Muirhead tops things off with "Fever" before leaving to prepare for the night's main event. Thirty minutes later, a man who had previously been relaxing with a Sierra Nevada Pale Ale steps on stage, a white collar affixed to his neck. The minister, who does double duty as the group's manager, invites everyone to gather round the ceremony is about to begin. A black-clawedding train encircles the bride and groom, who read vows with voices. It's trembling truly a specto tacle behold an unusual mix of the traditional and the bizarre d self-penne- d r see stove, page . R5 o he latest release by the l j Christian McBride Band, led LI ln. by the acoustic and electric bassist, is surprisingly upsetting jazz j mM ,n for a player who came of age under the tutelage of greats like Pat Metheny, Chick Corea and the late Roy J Brown. Technicolor Nightmare," the track that immediately follows the "Circa 1990" intro track, offers a sample of some soloing from the featured players. The composition by McBride begins with a quick melody line that leads into an acoustic bass solo. After a saxophone licks and the interlude, the guitar solo begins with '80s of brand distortion as well. The returns band to the begmning proper melody line and then a short keyboard chord solo draws the song to a close. It's neat, but it's nothing that hasn't been done in modem jazz before. Joining McBride on the album are Ron Blake on tenor and soprano saxophones and flute and Geoffrey Keezer on piano and keyboards. Terreon Gully plays drums while Danny Sadownick adds percussion and David Gilmore no, not of Pink Floyd fame plays acoustic and electric guitar. One of the stand-ou- t tracks on the album is The Wizard Of Montara." It sounds like it has a strong p influence, although the tempo is slowed down. The jumpy walking bass line lays down the groove while Blake dares to step out ofthe listener-friendlkeys for his sax solo. The parts for the keys and the sax in the rest of the song offer interesting texture over a straight-forwardrum line with some minor syncopation. Blake's composition "Song For Maya" is catchy and danceable for a while. The rhythm goes in and out of a Latin rhythm and offers a break from the other tunes' somewhat serious introspective nature, but it ends too soon. Keezer's "Precious One" and Joe Zawinul's "Boogie Woogie Waltz" are other interesting takes on the album worth noting. The rest of it is trite and could use improvement Tahitian Pearl" by Keezer sounds cheesy despite the smooth sounds on electric bass. The sax playing is unnecessary as it complicates the simplicity of the bass and the back up on the keys would be great if Keezer stuck to the vibe effect used in the last part of the song. The Ballad Of Little Girl Dancer" tries to convey a funk element with the bass in front and Herbie Hancock-styl- e synthesizer sounds, but the song takes too long to reach the groove and the sax interferes before it assists. McBride doesn't showcase himself enough on the album, even, though he composed five of the nine tracks. While one can hear that he is a good bassist and that he shines on both acoustic and electric bass a feet not easily tackled he still takes the backseat to the rest of his band and fails to knock the listeners out with solos, dynamics or Dare I say it? speed. Even though McBride has been in the music business since his late teens and is now entering the third decade of his life, he can still learn what it takes to put out a album. hair-styl- e be-bo- y d i I i ' t ".. r f '.' - V Y- ! - I "1, www... - z-- 7 J u ... . J! .- knock-your-socks-o- ff -- If This is the first set There was no second set. Really. And the first one was short. Just a lousy wedding. For $5. R4 march I 6, 2003 I hat's not great, not bad and red all over? No silly, it's not our magazine. (There's no dispute that we are self righteously fantastic! The answer to this riddle resides in the latest album by poppy punksters Sixty Stories. The band members have got a lot of things going for them: They are female fronted; they've opened up for such stellar acts as Samiam and Fugazi; alumthey recently added a bass player whose status as an nus automatically lends her an aura of garage rock cool; and their album was originally released a year ago in Canada, a country that seems to do everything right Yet Anthem Red's songs are surprisingly uneven, as some display vocals while others dwell in apathetic noise. great Distorted guitars yelp and squeal before merging into standard hooks that surpass the tone of Jo Snyder's voice in their appeal. However, it's refreshing to see some thought put into the layout of the lyrics. Each track plays a part in an uruolding narrative "Don't go to sleep There is a story I would like to tell you," Snyder howls on the opening "Countaown." Throughout the album, tiny prosaic vignettes dot the musical landscape, focusing on open self disclosure. Sonically, there's a lot more that could be done with the potential talent inherent in this band's lineup. Once again, nothing shocking. Still, it's more punk than that squirrelly Avril Lavlgne and I guess that's something. 4 lights, her lightning-struc,1 reaks swept into a bouffant. She's Joan Jett embodied in jazzy lounge singer form. Her vocals bounce off cavernous walls, which are bathed in srnokey half light and penetrate the ears of the patrons '40S-styl- 4rr i 7 - 5a3 ks RED Magazine LMV |