'Stile' è il primo sostantivo che viene facile utilizzare per descrivere la musica di Ben Sidran. Nome notissimo nella scena americana, cantante, pianista, compositore e fine conoscitore della musica in toto (evitiamo di utilizzare l'etichetta 'jazz' memori anche del non troppo lontano album in tributo a Bob Dylan), con Don't Cry for no Hipster Sidran torna alle atmosfere fumose a lui più care: quattordici canzoni, tante, trovano spazio in un'opera che guarda alla tradizione, intimismi da jazz club e puntate swing venate d'ironia.
Sicuramente consapevole della propria posizionequella di Sidran è musica del tutto 'conservatrice' dal punto di vista formale e sostanzialeil musicista di Chicago si mantiene su un crinale che al jazz più orecchiabile somministra dosi di ballad oscure ("It Don't Get No Better" sarebbe piaciuta a un Nick Cave con trascorsi meno tumultuosi e privato di elettricità), languide passeggiate pianistiche ("Dying Anyway"), strizzate d'occhio al pop ("Rich Interior Life"), shuffle d'annata ("Hooglin'") e persino del vecchio spoken ("Brand New Music").
Il titolo ci porta forse in medias res, con uno sbeleffo alle mode trendy popolari fra gli hipster di città. Ripercorrendo nelle note di copertina la genesi di un termine'hipster' appuntoche nella cultura americana pop ha goduto di una certa fortuna (torniamo addirittura agli anni del proibizionismo), Sidran ci ricorda non senza robuste dosi di ironia il personale credo stilistico: «Brand new music/Same old song», come canta dopo poco più di 4 minuti dall'inizio dell'album. E noi cantiamo con lui.
Track Listing: Back Nine; Brand New Music; Don't Cry for No Hipster; At Least We Got to the Race; Can We Talk; In the Beginning; It Don't Get No Better; Dying Anyway; Private Guy; Reflections; Take a Little Hit; Sixteen Tons; Rich Interior Life; Hooglin'.
Personnel: Ben Sidran (wurlitzer, piano, Hammond, organ, voce), Will Bernard (chitarra), Leo Sidran (batteria), Moses Patron (percussioni), Tim Luntzel (basso), Orlando Le Fleming (basso), John Ellis (sassofono), Mark Shim (sassofono), Trixie Waterbed (cori).
Year Released: 2014
| Record Label: Nardis
| Style: Beyond Jazz
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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