Following a weekend of really bad weather in Eastern Iowa, I wasn’t sure whether we were going to see this show. As I posted earler, Allen from Six Parts Seven had reached out to let me know that they were playing in the area as part of a tour they were doing opening and backing Merge artist Richard Buckner.

After a good dinner at the Atlas World Grille we made our way over to the Picador in time for the 9PM doors. This was the first time I’d been to the Picador since its transformation from the long-standing Gabe’s. Due to the previous “Early/All-Ages” show running long, the show we came to see would start late so we hung out downstairs in the bar waiting for the doors to open.

Once we got upstairs, we met Allen Karpinski who is the lead guitarist for the group and principle composer/arranger. I had been exchanging PM’s with him on myspace leading up to the show. He seemed genuinely happy to see us at the show and we talked about the tour progress so far and he said that his brother Jay who was the drummer had dropped out of the tour over a disagreement. So the band was continuing the tour without him and other members of the touring band were filling in on drums. The topic turned to gear with my friend Erik who builds guitar amps. Allen had an effects pedal that was made for him by a friend that stopped working. Erik offered to take it home and look it over to see if he could fix it.

I hadn’t been here since some time in the late 90’s– I think it was the Evan Dando solo show with Epic Soundtracks (R.I.P.). At that time the room had a bunch of tables and chairs. Apparently they only have two or three tables and chairs which was a bummer because as much as I like standing for shows, I like to sit– and certainly my wife would have prefered to have the option.

First up was Six Parts Seven doing a five-song 20-minute or so set. I was disappointed because I would have liked to hear more songs from them as they were the reason I was here. Apparently, though the small crowd was there to see Buckner.

As expected, they played a mellow impassioned set. The members focused on playing the songs. The crowd was small and it seemed like we were watching a band practice! From time-to-time someone would take on the drum role– sometimes mid-song. The songs took on a new feel and perspective compared to the album versions of the songs.

One thing I noticed was that Allen was playing a capoed bass guitar. You can see that in the picture above. This explains the “mid-range bass” credit in the liner notes of Casually Smashed to Pieces. Between the Six Parts Seven set and Richard Buckner’s I got a chance to catch up with Allen again and asked him about it. He said that he is actually playing lighter gauge strings in addition to the capo. I suggested that he could be playing a Bass VI. He said that the tone would be different.

Allen also gave me the setlist that was played that night: “Conversation Heart,” “Stolen Moments,” “Awaiting Elemental Meltdown,” “Night Behind the Stars,” and “Knock At My Door.”

After the break Buckner somewhat unexpectedly showed up on the stage and started playing some songs solo. The guys in Six Parts Seven hung out in the crowd watching the show like everyone else. After four or five songs they joined Buckner on stage.

The Buckner set was comprised of mostly recent songs from the fantastic Meadow release and the prior two albums. I wasn’t as familar with his songs, but I knew the Meadow songs pretty well as I had been listening to it very regularly leading up to the show. My favorites were the more uptempo songs like “Town” and “Lucky” and benefitted quite a bit from having a full band behind him. The drum beats were more straightforward 4/4-type so the stand-in drumming worked pretty well.

It was pretty obvious to me that Six Parts Seven was pretty nervous on a couple of songs– especially when it required a switch-up of the drummer. But, they held it together and there were definately moments of brilliance. My friend Erik and a buddy from his work Shawn were very impressed with the Buckner songs and planned to pick the new release up.

Buckner evidently plays a lot of shows solo. He was using sampling pedals to play over himself– sort of like Keller Williams. This was an interesting aspect to his sets. Sometimes it worked really well, other times I felt like it was a distraction. Buckner doesn’t say a lot in his set either and seemed to fill the between song gaps with his sampler pedal.

Looking back on the show, I really am pretty happy I made it out to see them. The show was very intimate and that allowed Six Parts Seven to showcase their strengths in dynamics. I would like to see Six Parts Seven headlining a show or at least get more than twenty minutes of them. I’d consider seeing Buckner again, too.

The fine folks at Daytrotter have finally released the session that Six Parts Seven did for them. This session was done the same day as their show at the Picador in Iowa City that I saw– February 26, 2007. Since this is out I will finish my long-overdue review of that show and post it this weekend complete with pictures.

This set is pretty similar to Six Parts Seven’s opening set for Richard Buckner. Four songs, mostly from their fantastic Causally Smashed to Pieces. Mellow, beautiful, soaring music.

Six Parts Seven on Daytrotter – Free Music

Interview with Allen Karpinski by Sean Moeller from Daytrotter

Free MP3EP of Six Parts Seven

When I received the e-mail from CSPS offering free tickets to see jazz saxophone player Ray Blue as part of the Legion Arts’ 15th birthday, I jumped at the chance. Sherry and I had seen Ray Blue a couple of years ago with some friends at a Liars Holographic Theatre performance. Liars is a “fake” radio show somewhat in the spirit of Prairie Home Companion with skits and music. The night we saw Ray Blue, it was a special show where the cast got to perform original songs in addition to the skits.

Although Ray Blue was born in Virginia and was raised in New York and currently lives between New York City and Berlin he spends a significant amount of time in Eastern Iowa. This is apparently due to his time spent here studying to get his Masters Degree in Clinical Social Work at the University of Iowa. In addition to the performances at the churches and schools, he also talks on social issues.

The show at CSPS was a record release show for his new album Transvision on the German Neu Klang record label. In addition to the Cedar Rapids show, he would go on to play Munich, Berlin and dates in France. Ray is a critically acclaimed jazz musician and we are very fortunate to have him visit as often as he does. The ensemble who played with Ray were known as “Cross-Continental Spirit” and shared some members with the band of the same name who played on the album. The band included his regular collaborator David Daoud Williams on percussion, Calvin Hill on bass, Sharp Radway on piano, and Gregg Servance on drums. The Transvision album and Cross-Continental Spirit are a project in a classic quartet style with percussion and is a tribute to friendships.

Ray came out dressed in a very regal green outfit in an African or Eastern style. I was surprised a bit as most of the pictures show him in a trademarked blue suit that we’d seen him wearing at the Liars show. Nonetheless, it’s a style he can pull off and complimented his golden sax. The rest of the group was dressed more subdued. The lighting was minimal but lit the performers during their solos and also lit the backdrop from time to time to dramatic effect. CSPS is an art gallery in addition to the cozy performance space. The sound guys did a great job filling the room and kept the levels very comfortable. I forget what a great space CSPS is to see shows. The best-kept secret in Cedar Rapids indeed! Unfortunately there wasn’t very many people there– maybe twenty or so, and I wonder how many got free tickets? The group played a second show on Saturday night. I hope that show had more of a turnout.

The show pulled all of the songs from the Transvision album and also pulled a couple of other songs– a standard cover of “In A Sentimental Mood” by Duke Ellington that Ray put on his album Always With A Purpose. Ray demonstrated his jaw-dropping circular breathing technique a couple of times. He is able to hold a note while inhaling at the same time. It seems like he can hold the note indefinately!

The first set was a bit more subdued and felt a bit like a warmup. But, the second set had a lot more energy and I could tell the band had gotten its groove. Sherry and I left the show that night amazed. I felt like maybe this show was like experiencing Miles Davis or John Coltrane back in the Fifties and Sixties playing the Jazz clubs in New York. I picked up the new CD, and it is able to stand up next to my Coltrane CD’s in my regular Jazz rotation.

Ray Blue will be back in Iowa in February of 2007 for another couple Liars shows, and according to their website the first show is already sold out.

Visit here for clips from Ray’s albums including Transvision.