Music

Cloud Cult is hitting up Urban Lounge on Sunday, April 18 as part of their U.S. tour, and it’s likely their last appearance in Salt Lake City for a while. So, whether or not you’re familiar with Craig Minowa’s labor of love circa 1995, now’s the time to start.

Last month, the experimental indie ensemble brought us their 10^th full studio release, The Seeker. It accompanies a feature-length film of the same name, due out later this year. I chatted with the frontman and environmentalist on the LP, “greening” the music landscape, and what’s in store for SLC.

CC: Many bands are reticent to cross into other media, but you actively release your music across platforms, with a movie coming out to complement your album. How do you feel about branding?

CM: I think we’ve always tried to combine a lot of visuals with the music onstage, like having live painters onstage. I started doing a lot of scoring work for National Geographic documentaries and independent films. I wanted to continue that flavor of music, where you can have long instrumental periods in an album and not worry about just having formulaic, 3-minute verse-chorus-verse kind of thing. Of course you have that on the album too, but it was less of a concern.

CC: What was your goal in making The Seeker (film)?

CM: I’ve wanted to do a film with an album for quite a while, and when I realized this one had a storyline and what it was, it was feasible. On top of that, the music industry has changed dramatically with the popularity of Spotify and other streaming services. CD sales are, across the board, down 80%. We needed to do something original to get people on the train. So I also released a chapter every single week so people grab on to the storyline and are hungry for what’s gonna happen next.

CC: How can the film and the album be appreciated respectively and as one entity? 

CM: Part of the intention of not releasing both at the same time was to allow people to have their own personal relationship with the songs. We’ve had a few sneak peek screenings so far and from what I’ve heard, people who have listened to the album got something totally different from the film. A director of the film has fraternal twins on the way, so I think it’s a somewhat similar analogy. They came from the same womb and have a lot of similarities, but their own personalities.

CC: What was it like working with Jeff Lipton (Bon Iver, Arcade Fire)?

CM: He’s great! I think the better mastering engineers out there are really transparent about their strong opinions about design. A lot of people go to one with the intention of getting as much volume out of the album as possible [for] the radio, and he’s really good about not playing that way. 

CC: What topics do you find yourself gravitating towards when you write? 

CM: It comes back to exploration; why we’re here; what’s our purpose; what the whole God thing is all about; how can we get in touch with the afterlife. Big cosmic questions. For me, the most powerful things I’ve experienced from music is that feeling of connecting to something bigger than myself. That’s what attracted me to music a long time ago, and it still does today. I feel like I’m looking for some kind of solution with each album, and that the question is phrased a little bit differently each time, but ultimately, I think when an album’s finished, I always end up back in the same spot, which is right here and right now. You have this moment and nothing else, so what are you gonna do with it?

CC: Your music is interestingly tied to a lot to environmental causes. Are those two things you’d initially planned on meshing?

CM: No, in fact, I was actually an environmental scientist for a living, and music was just a side hobby. It wasn’t until things really started to take off with the music that I felt like we could do positive work with Cloud Cult too. It required new models that weren’t available as far as environmental CD manufacturing.

And it’s not just environmental. I used the music for our grieving process when we’d (he and wife/fellow band member Connie Minowa) lost our son a few years back. The music ended up being something that other people who were going through loss found some kind of medicine in. That unintentional positive effect is something we now really put a lot of focus on.

CC: You and your wife had a child in 2009, right? 

CM: Yeah, we’ve got a 4-year old and a 6-year old now. 

CC: Has that changed things? 

CM: There’s literal changes, like you can’t stay up until 4 o’ clock in the morning in the studio and still wake up and be a good dad. It’s been rare that we’ve come to Salt Lake City, just because those drives are really hard on the kids. With this tour, unfortunately, it might be quite a while before we get back to Salt Lake City because we’re shifting to doing more flights.

CC: I read that you were approached by a lot of major labels but you insisted to stay with your own (Earthology). Why was that important to you?

CM: The songs are children and we’re putting them out there into the world. When a major label owns the publishing, there’s more pressure to allow those songs to be used in commercials of products you don’t agree with. We recently had an offer from Coca-Cola for a big campaign in Latin America, had done some work done there and saw Coca-Cola’s privatization of the limited water supplies, and what that was doing to the natives. We just didn’t feel comfortable signing on. I think it ultimately ended up working in our favor. Because we’ve really focused on having everything be as ethical as possible, we’ve got a lot of long-term stability.

CC: How have your efforts at “greening” the music industry panned out? 

CM: This album is the first time we’ve done a vinyl product. We haven’t done records in the past ‘cause they’re made out of polyvinyl chloride. The production of PVC creates dioxin, which is one of the most potent carcinogens out there. We’ve been trying really hard to work with companies to grind up old albums and make a recycled album, and right now, it’s falling pretty flat, ‘cause we got our first shipment of albums and they’re all scritchy-scratchy and don’t sound good so we’re trying to figure out what we’re gonna do (laughs).

CC: What can we expect at your upcoming show?  

CM: Knowing that we don’t know when we’ll get to come back to Salt Lake City again, we plan to do an extra-long set – really incorporate a lot of the new album with past ones and acoustic material, and really start the evening on a journey together. 

Visit Cloud Cult’s official site to listen to The Seeker and purchase tickets for their upcoming show. Click here to preview the film.

The iconic Rite of Spring caused a huge scandal when it premiered a century ago. And while it can still stir things up, it long ago found a permanent place in the orchestral repertoire. However, it’s not common to find it programmed by a community orchestra, but the Salt Lake Symphony is no ordinary community ensemble. It consists of ambitious and dedicated musicians who obviously love a challenge. And under the leadership of its music director, Robert Baldwin, they get plenty of opportunities to test their mettle.

Robert Baldwin

They gave a stellar performance of Stravinsky’s demanding ballet score. They played with flair, passion and power, as well as wonderfully articulated expressions and lyricism. There was nothing “community” about their performance; it was professional through and through.

Baldwin captured the vitality and drama of the work with his well conceived and executed reading. He showed his command of the score as he delved into its many nuances and subtleties of rhythm and orchestration. He brought the music to life and made it palpable in stunning fashion.

Hasse Borup

Hitt’s concerto is a lushly romantic piece that, even though it’s not programmatic, is nevertheless an evocative description of Yellowstone National Park. Soloist Hasse Borup gave a stunning performance that first and foremost exhibited his expressive side, while also showing his impressive technical mastery of his instrument. And Baldwin and the orchestra offered finely crafted accompaniment that balanced and at the same time contrasted with the solo part.

The concert opened with two movements from Antonin Dvorak’s Slavonic Dances, op. 72. The orchestra was joined by a large number of local high school aged musicians. These young players fit right in with their older counterparts and the performance of these two pieces was exuberant and dynamic.

As evidenced by last year’s installation, the festival, unique in its urbanized, laidback setup, collaborative programming, and all-ages offerings, continues to live up to its mission statement: to foster greater appreciation for the arts – especially of the non-traditional variety – spur innovation among local talent, and ultimately improve our quality of life.

I spoke with UAF Performing Arts Coordinator, Steve “Doc” Floor, who with his keen ear for sounds across genres has been enlisting musicians for the festival circa 1999. While the program is still in its finalizing stages, he gave me the scoop on confirmed acts. With returning and debuting artists, the eclectic roster is sure to satiate goers’ specific palates.

CHARISSA CHE: What does the UAF has to offer that makes it unique from other summer arts festivals in SLC (i.e. the annual DIY Festival)?

STEVE “DOC” FLOOR: I think that at the Utah Arts Festival we bring together more forms of art and fun during the annual four-days than any other event… I only handle the performing arts portion (classical, folk, rock, hip-hop, R&B, jazz, bluegrass and electronic music; modern dance, multi-cultural dance and ballet).  But we also feature over 100 visual artists booths full of traditional 2-D and 3-D works, not to mention a festival-long program of literary art and film.  We’re celebrating our 40th anniversary this summer, and we still provide a great opportunity for this community to come together to celebrate how art makes our lives better.

CC: Tell me about some of the confirmed acts for the upcoming festival. What might be particularly exciting for first-time goers?

SDF: It’s still very early in the game and I’ve barely made a dent in scheduling the 90+ performances for this year.  But at this point, I can release the following list of artists who are confirmed to perform at the Festival: The Utah Symphony Orchestra; haven’t had ‘em in over 20 years, Steep Canyon Rangers– Steve Martin’s back-up band; Elvin Bishop’s Big Fun Trio – Elvin was just inducted into the Rock and Roll Hall of Fame; Cimarrón, from Colombia, and about 86 more still to be named.

CC: What do you look for when you review artists’ applicants?

SDF: Several factors are considered when reviewing artists’ applications.  While certain time slots are reserved for music schools and “young” musicians, for most other time slots, I personally look for experienced, professional performers.  That doesn’t mean that all of the band members are full-time musicians…we should present seasoned players that can perform with at least a minimal amount of competency, professionalism and have the creativity and energy that all performers should demonstrate… I have recruited 25 persons to serve on five separate music-genre committees to help me review the 300+ acts that are considered every year.

I can safely say that the only acts that perhaps might not be appropriate for the Festival are those that present gratuitous sex, violence or profanity.  I think that when so-called artists rely on such superfluous displays, it’s actually a sign of artistic weakness, and is therefore contrary to our overall mission.

CC: For those who may be too late in applying for a slot in the program: how might they still get involved in the Festival’s cause?

SDF: The Utah Arts Festival depends on more than 1,200 local volunteers every year and volunteering is a great way to be involved.  Members of the set-up crew, face painters, beverage servers, Earth Team recyclers; we need help with all of it! (Find out more and sign up to volunteer here.)

CC: What has been one of your most memorable experiences at the UAF thus far in the time you’ve been involved?

SDF: I think the one that stands out the most was in 2007 when I performed at the Festival.  The band, Zion Tribe, had been together for 20 years by this time, and we had played the Festival several times. For whatever reason, this show was one of our best ever…the crowd was big and appreciative.

This is what many other acts have experienced at the Festival and the main reason so many local bands really want to be accepted to play the event. We provide a big stage and a big, top quality sound system with professional audio engineers. This is the sort of technical production that provides a rare opportunity for local bands. For most groups, it’s sort of a once in a lifetime experience and the chance for their fans, friends and family of all ages to see them in a professional and fun setting.

In addition to the above, here’s a sampling of confirmed acts that Floor is personally excited to see, and bookings in progress: 

A collaboration between RDT Dance Company and 3hattrio, a country/folk/jazz group out of southern Utah.  I saw the two groups perform together and it was an absolutely unique pairing.

A Dutch woman who now hails from Portland, Oregon and performs under the name Jet Black Pearl, does amazing things with her voice, her accordion and some electronic devices.

The Phoenix Jazz and Swing Big Band will make their first appearance ever at the Festival and will feature California based vocalist, Jack Wood.  They will present an evening of music in tribute to Frank Sinatra entitled “A Sinatra Centennial Salute.”

For the past few years, we’ve presented artists submitted by the Gina Bachauer International Piano Foundation.  The pianists they’ve brought to us are always world-class.  At this point, we don’t know who they’re going to feature, but it will be high-caliber piano artistry.

I’m currently in the process of booking a musician to be featured as soloist with the Salt Lake Jazz Orchestra.  I don’t have confirmation as to who it will be; I’m exploring several options.  But whoever it is, will be a world-class player.

Beginning last year, we presented the Salty Cricket Composers Collective, who will again premier original music written by Utah composers. Their repertoire consists of classical music written for the piccolo, clarinet, and piccolo trumpet, played by a handful of Utah Symphony Orchestra musicians.

From Great Britain, we will have Neighbourhood Watch Stilts International, a group of larger than life, colorful street theater performers. They’ll be on site, roaming throughout the festival at various times during the four days and nights.

For more information on the Utah Arts Festival, visit its official website.

Photo cred: Austen Diamond

And it’s here! It’s finally here!

Get your coolers and plastic wine tumblers ready because this year’s Red Butte line-up is the best, and most generationally diverse, yet.

The season kicks-off with the previously announced and already sold-out contemporary folk band The Lumineers on May 25, and reaches into the 90’s for a repeat visit from Ben Harper and the Innocent Criminals (June 29), Goo Goo Dolls with Collective Soul and TribeSociety (September 14) and The Barenaked Ladies and OMD stop by with 80’s icon and perennial Utah favorite Howard Jones on July 13. Speaking of the 80’s—Culture Club (August 8), Blondie (September 7) and Tears For Fears (July 6) all make stops at The Butte this summer.

But wait, that’s not all! Step into your way, way back machine to see Jackson Browne (August 24), blues great Buddy Guy (June 1), Pat Benatar with Neil Girlaldo and Melissa Etheridge (August 17) and The Monkees (June 16). And go even further back when the Utah Symphony takes the stage (August 11) to play some classical tunes.

As always, there’s a healthy serving of roots and roots rock at Red Butte this year, Neko Case, k.d. Lang and Laura Veirs (July 8), The Avett Brothers (July 26), Willie Nelson & Family (July 28), Ryan Adams (August 15), Wilco (August 30) and the season wraps-up on September 15 with Jason Isbell (who last played Red Butte during a freak June snow storm).

Contemporary acts Lake Street Dive (August 14), Gary Clark, Jr. (July 31) and Edward Sharpe and the Magnetic Zeros (June 20) also have a place in the line-up.

The complete list is below. Tickets go on sale April 25 at 7pm for Garden Members and on May 2 at 9am for the General Public. More details about membership can be found here.

And, be sure to register for an account at Ticketfly.com early to avoid day-of-sale complications—some of these shows will sell out very, very quickly.

I’ll see you on the lawn.

Red Butte 2016 Concert Season

5/25 The Lumineers

6/1 Buddy Guy & Jonny Lang

6/16 The Monkees

6/20 Edward Sharpe and the The MagneticZeros

6/29 Ben Harper & The Innocent Criminals

7/6 Tears For Fears

7/8 Case/Lang/Veirs

7/13 Barenaked Ladies with OMD & Howard Jones

7/14 JJ Grey & Mofro and Josh Ritter

7/19 Boz Scaggs

7/26 The Avett Brothers

7/28 Willie Nelson &Family

7/31 Gary Clark Jr.

8/5 “Weird Al”Yankovic

8/7 Tedeschi Trucks Band with Los Lobos & NM Allstars

8/8 CultureClub

8/9 Michael Franti &Spearhead

8/11 Utah Symphony

8/12 Lake Street Dive with Gregory Alan Isakov

8/15 Ryan Adams

8/17 Pat Benatar & Neil Giraldo and Melissa Etheridge

8/18 Grace Potter

8/24 Jackson Browne

8/30 Wilco

9/7 Blondie

9/8 Kacey Musgraves

9/11 Bonnie Raitt

9/13 NEEDTOBREATHE

9/14 Goo Goo Dolls with Collective Soul & Tribe Society

9/15 Jason Isbell

Local opera lovers had a rare opportunity to see Mozart’s 1781 masterpiece last week when the University of Utah’s Lyric Opera Ensemble and the Paradigm Chamber Orchestra joined forces once again and collaborated in the Utah premiere of Idomeneo. The costumed and staged production was under the baton of Joel Rosenberg, and stage director Anthony Buck made good use of the limited physical resources in Libby Gardner Concert Hall in his well conceived and executed staging.

For years, Robert Breault’s opera ensemble has been a remarkable pool of young talent. And year in and year out, these versatile singers haven’t disappointed, no matter what they’ve performed. And they certainly outdid themselves in many ways with Idomeneo.

The story of Idomeneo takes place in Crete immediately after the Trojan War and deals with Idomeneo’s dilemma after vowing to sacrifice the first person he sees upon his safe arrival home, not knowing, of course, that it would be his son Idamante who first greets him.

The leads were double cast. At Friday’s show, David Sauer gave a thoughtful account of the title character. His singing and acting brought depth to his role. He has a fine voice that’s well suited to Mozart; he brought lyricism and, when needed, power to his portrayal.

No less impressive was Kelly Southworth as Idamante. She imbued her characterization with heartfelt sincerity. She, too, possesses a voice that is made for Mozart, and her singing Friday was expressive and tempered with finely crafted lyricism.

Whitney Kimball, as the Trojan princess Ilia, was also in fine voice, singing with clarity and wonderfully drawn phrasings.

Particularly impressive was Daysha Lassiter in the role of Elettra. She has a dramatic voice with power and depth that is also gorgeously expressive. And her acting talent is on the same level as her vocal chops. She gave a stunning and memorable portrayal that truly stood out.

The large chorus was also magnificent, and added much to the overall success of the production, as did Garrett Medlock, Keanu Netzler and Seth Keeton in minor roles.

The Paradigm Chamber Orchestra had another fine outing, playing with clarity and depth.

The Lower Lights, a large group of local musicians of varying fame and fortune, have hosted a Christmas music concert each year for the last 6 years, and each year it has grown—primarily through word of mouth. It has grown so much, in fact, that the Lower Lights moved this year from the Salt Lake Masonic Temple to new digs at Kingsbury Hall, while still selling out all of their shows. The move was a detail that did not go unmentioned by the band.

“How’s everyone feel about the padded seats?” one member of the twenty-something-member group asked early in the show. Another mentioned how relieved he was that he didn’t have to put rows of metal folding chairs like in years past at their former Christmas show home. Another said, “We had many apprehensions, as I’m sure you do, about us moving here.” But still, all who spoke from the stage on the subject mentioned that it was a dream come true to be playing the venue.

And so the band played. Sometimes all at once, sometimes in shifts, and often making sure everyone got their moment to shine. But they seemed to have trouble connecting with the crowd. Maybe it was because it was the first night, or maybe the room was a little too big for them. But, often they paused for audience reaction, and got none.

Songs varied from traditional Christmas tunes (“I Saw Three Ships”, “Silver Bells”, “Away In The Manger”), to gospel standards with a folksy bluegrass touch (“When The Roll Is Called Up Yonder”, “God’s Gonna Trouble The Water”, “Just a Closer Walk With Thee”). The crowd seemed to liven up a bit at the more upbeat tunes, clapping as if they were at an actual revival.

At the introduction of a song by the great Louvin Brothers the crowd fell silent (gasp!), but made noise again as soon as the song, “River of Jordan”, started.

The band shined more during the gospel songs than the Christmas standards, led in part by an outstanding fiddler. A detail that makes this reviewer wonder why The Lower Lights tradition seems to be only a Christmastime one.