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illinoisentertainer . com march 2017
Continued from page 24 soul that produced 14-carat , melancholy solo gems like “ Waiting for My Real Life to Begin ” ( the song that gave the title to Hay ’ s compelling new documentary ). “ She Was the Love of Mine ” follows Next Year People ’ s “ Did You Just Take the Long Way Home ” as another tender devotional to Hay ’ s late mother . Description of the love that remains after loss is primed to melt hearts of steel . Similar sentiment touches “ Two Friends .” With lush strings , the smitten “ A Thousand Million Reasons ” is the happier , opposite number to earlier stunner “ I Just Don ’ t Think I ’ ll Ever Get Over You .” Hay loses himself in reverie during “ I ’ m Going to Get You Stoned ,” but sheds nostalgia with the conviction that there aren ’ t enough days to risk indulging it . “ Not living is the crime ,” he sings . “ I squeeze it each and every day .” Even while dispensing the wisdom of years , however , Hay can ’ t resist one more wry aside at his own expense . “ I ’ m still running chasing dollars ,” he sings of a frenetic life . “ Sure beats lying in the sun .” Appearing 3 / 10 , Thalia Hall , Chicago
– Jeff Elbel
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THE LEGAL MATTERS Conrad
( Omnivore )
Michigan-based power-pop trio The Legal Matters deliver upon the considerable promise of their 2014 self-titled debut . Veteran musicians Andy Reed , Chris Richards and Keith Klingensmith must have spent their sophomore slump during their dues-paying years in other bands , because it ’ s nowhere to be found on Conrad . The disc presents 11 new slices of tasty psych-rock confection . “ Anything ” is resplendent with Laurel Canyon shimmer , patient Big Star-meets-George Harrison jangle , and summery Brian Wilson harmonies . Think of Matthew Sweet ’ s rootsy 90s side project The Thorns as a point of reference . The band ’ s twin trademarks last time around were big , chiming guitars and sugar-sweet , note perfect harmonies . Both qualities are amplified on songs including the melancholy “ Minor Key .” The yearning “ Pull My String ” begins with an intimate combination of vocal and acoustic guitar , but evolves into another glorious pop symphony as the song describes the struggle to break character and routine . “ She Called Me to Say ” and “ Hip Hooray ” are reminiscent of recent crafty masterpieces by The Jayhawks . The memory of The Beatles ’ “ Oh ! Darling ” echoes through “ I ’ m Sorry Love ,” with its pristine melody spiked by parlor piano and a gnarly guitar tone borrowed from additional Abbey Road cut “ Because .” Fair sprinklings of Jellyfish and Teenage Fanclub are added for good measure . Album closer “ Better Days ” mines later McCartney / Wings gem “ Let ‘ Em In ,” while breathing sighs of wistful nostalgia and clutching at elusive , cautious optimism . “ Better days await me . Better days have come and gone .” The song seems a bit roughed up by the present , but has a heart willing to hold onto hope as the singer goes about the business of simply getting by . It ’ s a welcome balm for turbulent times .
– Jeff Elbel
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DONNY MCCASLIN Beyond Now
( Motema )
David Bowie may be at rest , but his restless musical spirit is still giving gifts . Bowie ’ s final studio album Blackstar featured another bold shift in sound , relying heavily upon New York-based saxophonist Donny McCaslin and his band . Savvy jazz fans have been aware of McCaslin ’ s outstanding catalog since 1998 , now a dozen albums deep . The rest of us can catch up with Beyond Now and learn what made Bowie so excited . The fusion framework of “ Shake Loose ” recalls the compelling oddtime excursions of Mahavishnu Orchestra and Frank Zappa ’ s Hot Rats . McCaslin ’ s tenor sax scats and sings above the foundation of Tim Lefebvre ’ s bass , juxtaposing the ability to shock and entrance . McCaslin honors his recent collaborator with a pair of craftily-arranged covers from Bowie ’ s work with Brian Eno . “ Warszawa ” is borrowed from 1977 ’ s Low , recast as an expressive , unhurried and mournful duet between saxophone and clarinet . The tense melody grows with the crescendo of Mark Guiliana ’ s cymbal swells and icy sheets of sound from Jason Lindner ’ s keyboards . “ A Small Plot of Land ” was a haunted , unsettled track from 1995 ’ s bracing Outside . Here , its hypnotic EDM pulse places the song even further onto alien terrain . Guest Jeff Taylor provides the album ’ s only vocal , rendered as sorry words of farewell and echoed by McCaslin ’ s saxophone . The liner notes provide McCaslin ’ s own eulogy in more uplifting terms , citing Bowie ’ s generosity , creative spirit and fearlessness as a lasting influence . Appearing 3 / 16-19 , Jazz Showcase , Chicago
– Jeff Elbel
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