In this case, the world is Charleston and it’s not one boy, but six rockers of local indie groove-based-rock-reggae-jam band Long Miles, who are about to show everybody they’re ready to be taken seriously.

But first they have to graduate.

Long Miles has traveled, er, long miles to get to this pivotal moment in their five-year high-school-to-college career together. Recruiting a new drummer (Adam Williams) and adding a keyboardist (Ross Bogan) en route, the CofC students knew that if they wanted to get it right, they had to get the degree. And they’re not just saying that because their parents will read this.

“We wanted to learn first,” says John Shields, Long Miles’ lead vocalist/rhythm guitarist. “We had to see what we could do in Charleston, and get it right.”

They had that unique, multi-elemental sound and a stage chemistry that can’t be faked. But the music biz is tough. Enter the mentor character of this story: the late Jonathan “Johnny” Diamond.

Jacqui Haenn, older sister to lead guitarist, Brett, and Long Miles’ manager, was taking Intro to Music Management taught by Mark Bryan, founder of Chucktown Music Group and Hootie & the Blowfish, when Johnny came to talk. Jacqui met Johnny, Johnny liked Jacqui, and Charleston met and liked Long Miles.

“We met every week,” says Jacqui. “He would say, ‘You need to stop playing bars. You need to get on the radio. You need this, you need that.’ And everything worked.”

Before, they’d been mislabeled as a college band in a post-Sublime era. They’d refused to sell out to a label and had digitally recorded their first album themselves in one of their dorms “totally against the rules” by improvising a sound booth through closets. But with Charleston being what it is and Johnny being who he is, Long Miles started meeting producers; their hit “Girl, Don’t Come Around” was all over The Bridge; they played to thousands behind Grace Potter at Charleston’s 2011 First Flush Festival. And this week, with their first headlining gig at the Farm and a Kickstarter-funded, full-length, professionally recorded album to show for it, they’re about to leap from college band to real band.

“Johnny had done it with Crowfield, and he saw something in us,” says bassist Sam Morgan. “We grew up from what we previously were.”

Thursday’s show marks more than a jam-session into adultbandhood. The album, the show, and their profits are all dedicated to Johnny and the Johnny Diamond Memorial Award, which will give a selected Arts Management student a serendipitous opportunity in return for life-changing experience.

Sounds familiar.

Long Miles and ten classmates in their Fundraising & Creation class crafted the big event together. They better get an A.

Most songs on the versatile Shades end with John, Sam, Brett, Ross, James, and Adam rocking out, making their summer East Coast tour not to be missed. Again, after graduation.

“We’d love to put every single hour of every single day into Thursday’s show, but I have a project due Wednesday,” jokes Morgan.

Sam and John laugh as Jacqui explains, “Brett was going to be here, but forgot he had a quiz.”

Just until May.

Facebook.com/longmiles
Thursday, March 29th, 8pm, at Music Farm
Buy Tickets – $10, $13 day of – Copy of CD “Shades” with ticket

Story by: Jessica Kenny
Photos by: Andrew Stephen Cebulka

We talk with Scott Avett in anticipation of the Avett Brothers’ February 12th show in Charleston.

The 2012 tour that kicked off at the first of the year marks the release of the band’s newest album, currently untitled. Since they’re always putting touring in front of recording, a new album is a big deal. With several songs written over as long as an eight year period, Scott says, “the layers of time taken come through in the process.” He says this album has been heavily contemplated, more so than any of their other albums. Whereas they came to the “I and Love and You” album with everything in their arsenal, this time they came with a new, more instinctually structured approach to songwriting.

Which isn’t to say that’s how they approach their shows.

“We never wave a flag of perfection, it’s always a flag of improvement,” laughs Scott, regarding their “practicing in front of people” approach to shows. “We’ll become what we are becoming in front of people.”

This philosophy is in large part what makes them so fun to watch. Whether it’s at a large field at Bonnaroo or a more intimate setting, there’s something about the Avett Brothers that feels like you’re connected with them in a living room somewhere. They’re down to earth, relatable.

Scott, born and still based in North Carolina, loves that music in the South is so regional. NC has a different sound than TN. East Tennessee has a different sound than Nashville. “The South is really colorful,” he says, very proud of the way of life in the Carolinas. Never having thought about uprooting, he attributes a “Do It Yourself” attitude that has shaped him. “In North Carolina, you didn’t think about New York and LA…or at least I didn’t. I thought, ‘how do I do this myself? How do you come out of nowhere doing this?’”

Not like he never chased it. Early on, the band followed a few wild goose chases on the journey to “get discovered,” quickly learning to stop the madness. They instead learned to stop chasing and not count on being discovered; to just do what they loved, whether people were paying attention or not (in the beginning, they weren’t…one person even told them, “You make no sense on the radio”). Well you know how that goes…how they say you find love when you’re not looking for it? Guess the same goes for fame. “Our failure has been our fortune. Every time we lost, we had a necessity to redesign what success was for ourselves.”

We ask about Charleston memories and he laughs, “suuuurrre….,” reminiscing about a banjo incident. He had just started playing the banjo and had a handful of songs he could pull out like party tricks. He was downtown at the wedding reception of the father of the girl he was dating at the time. Daddio urges the banjo out. Scott starts showing off on his strings. A request comes for Rocky Top, which isn’t in his bag of party tricks. The father jokes, “What kind of banjo player doesn’t know Rocky Top?” Well, Scott says he was “much younger and more hot headed,” quickly getting defensive and combating with, “Well why don’t YOU come over here and play Rocky Top?!” He laughs thinking of the “chill out, kid…it’s a wedding reception” looks. He did ultimately learn to play it, although has since forgotten. “Maybe it’s in there somewhere,” he says.

When Scott’s not making music, he’s making art. He’s painting furiously right now, having just picked back up his paintbrush after seven months of touring. Literally and physically, he keeps his music and his visual art separate. “One can be a huge distraction for the other,” he says, explaining why he can’t listen to music with enticing lyrics while painting. Although the approach is the same: the subject matter always starts biographically, very specific to him…then the world shapes it and it transforms into something that is not his situation alone, more public, more accessible to all. We’ve got one of those multi-talented guys on our hands.

The music, the art, the Do-It-Yourself Homegrown success.

Here’s to the Avett Brothers.

We and Love and You.

TheAvettBrothers.com
Details on Charleston show
Buy tickets to Charleston show
Check out Scott Avett’s art

Story by: Caroline Nuttall

“I wasn’t done learning from him or laughing with him. We still had another lunch, another drink, and I wanted to wear his hat one last time. The sense of loss is huge, but what a privilege to know that man and photograph his passion. My last memory of Jack was from A Night at the Coppa. That rascal was dancing with four of us ladies to Tumbao – the only man on the dance floor – and he was so very happy surrounded by friends and the music he loved!”

- Reese Moore, photographer

“The first thing that caught me about Jack was his name – I’ve always wanted my future son to bear the name Jack. But in my 20s, I actually paid attention – this man seamlessly brought together not just musicians, but races – a real unifier. I’d be honored to father a son like that someday. Carry on Jack.”

- Corey Webb, musician

“I remember when Jack came on my show to publicize his book, “Charleston Jazz,” he was so humble and caring. His beautiful smile came across the screen so fabulously and every time I saw him, he would give me a big hug. He was a rarity in this town, someone with a mind filled with music and its history and whose passion it was to share with all types of people. He will be missed.”

- Ryan Nelson, PR & Media Consultant

“Jack is a giant in the Charleston music scene. A promoter, author, emcee, and music director is how most of us have grown to know and love Mr. McCray. I will forever remember his big smile and his warm voice. Jack has a way of making you feel welcome. A true jazz statesman, Jack will forever be an example for us all… an example of living a life dedicated to musical excellence, sincerity, and authenticity.

God’s peace and love to you and your family, Jack McCray!”

- Wilton Elder, musician

“Though I didn’t know the man personally, his presence in Charleston reminded me that there truly are good people in this world. Whenever you read a McCray article or heard one of his stories, you couldn’t help but to feel the same sense of joy that he did. That’s a true gift, one that won’t be replaced. Cheers, jazzman.”

-Will Bullock, graphic designer

“Jack was a friend of mine. Charleston is a lesser city with him not in it. We would drink together every few weeks…talk about writing over beers and bourbon. He wrote like he talked. He knew Charleston better than she knew herself. He will be missed.”

- Patrick Rhyne, copy writer

“Jack McCray held a great wisdom and character that made one unknowingly want to respectfully listen to whatever he was about to say. He was also very kind. I always looked forward to seeing him on any occasion.”

-Nick Jenkins, musician

“He was a friend, brother and mentor. He was also the definition of cool. Jack McCray was the embodiment of the spirit of Charleston – I will miss seeing him at Charleston Grill, I’ll miss his laugh, I’ll miss his guidance and professionalism.

His jazz column was the smartest thing I did as an editor. I often got positive feedback about the column from everyday folks – in grocery stores, on the street and elsewhere. People connected to Jack. Jack connected to people.

I rejoice in the fact that his spirit is home. But we will all miss him so much.”

- Marcus Amaker, editor

Photo by: Reese Moore and Jazz Artists of Charleston

Who can say where these ideas come from?

The way we like to imagine it, the folks from Charleston Ballet Theatre, The Have Nots, and What If? Productions were collaborating late one fine Charleston night when they heard a rustling outside the window. They peered outside just in time to see a strutting sweet transvestite bump into a zombie, slurping from a peanut butter jar and snapping his head to a funky beat.

“You got your peanut butter on my chocolate!” he says… before touching a fingernail to the zombie’s rather masculine jaw line (a handsome chin cleft is a handsome chin cleft, rotting flesh or no) and adding, “Not that I mind, of course, you bad, bad creature of the night.”

“Actually,” the zombie counters, “you got your chocolate in my… um… not peanut butter. Brains. The jar was just, you know, convenient.”

And that’s right about the time that, hmm… let’s say Greg Tavares from The Have Nots (as improv comedy skills are handy in situations like this), would stroll up and make introductions all around.

Okay, so maybe the brainstorming wasn’t quite so Midnight Movie as all that, but either way, the thought of this smorgasbord of talent all coming together for an evening of Halloween hoopla is pure genius.

Chew on this: the zombies from Michael Jackson’s epic music video Thriller and the freaks from Rocky Horror are going to do what they do best in a one-night performance featuring the top talent in town.

They had us hooked just with the premise of exploring the back story of the Thriller zombies. Toss in some Rocky Horror, choreography from Jill Eathorne Bahr, and local star Brian Porter (Charleston Stage / What If? Productions) slipping into his Dr. Frankenfurter finery for the evening, and what’s left to be said?

Wait, what? There’s more? Behind the scenes, Greg Tavares has been adding improv acting movement to the already considerable talents of Charleston Ballet’s dancers in preparation for this event? Spooktacular.

So get your “zombie freak” on (there will be a costume contest) and get yourself to the stage. Because, hey, the old jingle about ‘great tastes taste great together’ is just as true when it comes to creative talent.

Here’s hoping that we see more thrilling combinations of local artists in various genres again and again.


Thriller: A Monster Mashup

Charleston Music Hall, 437 John St.
Friday, Oct. 28, 8pm. $32.
(843)723-7334, CharlestonBallet.org

Story and Photos by: Jason A. Zwiker

Thanks to the folks behind the monthly online publication The Music Initiative, this daydream could soon be true for us Charlestonites.

With 15 years of working in the music biz under her belt, editor Becca Finley says she began to notice a lack of focus on the “working musician” here in Charleston. So, she did what any other music lover would do: she contacted all of her friends from over the years (and friends of friends) to assemble a team of writers throughout the region that would solely focus on bringing light to these emerging artists; thus inventing The Music Initiative.

Okay, fine. So, maybe she took it a step further just an ordinary music lover would have.

Now the folks at The Music Initiative are ready to take it yet another step further. Armed with the skills of Go To Team—a high-end video production company—Finley and her team want to get these emerging artists on film.

“We want to give them a leg up in the music community,” Finley explains. And, once they get roughly four filmed concerts under their belt, Finley says they could pitch the idea to a local public television so Charleston can have its very own version of Austin City Limits.

So far, the project has raised nearly $3,000 of the $10,000 needed to make the first filming of the pilot episode happen. So they still have a lot of work to do. And they need your help to do it.

“We have an investor that will match every dollar donated,” Finley encourages. Let’s give said investor a pretty number to match, shall we?

So what’s in the mix for the first episode? We hear local faves like Cary Ann Hearst, Danielle Howle and Elise Testone are set to be in the lineup. As for the first venue, we’ll have to wait to find out, Finley says.

Charleston music scene, prepare for your close-up.

TheMusicInitiative.com
Watch a video and learn more here
Donate to the cause here

Story by: Evans Craddock

Zeigler’s telling of his ninety-eight-year story feels as if he is reading you Mark Twain. His Wentworth Street home faithfully represents every chapter of his life, from the hundreds of books and records on his shelves, to a leather-bound scrapbook etched “The Book Basement,” which contains lauding letters and telegrams from past patrons and famous authors, and to the budding musicians who hungrily take turns at his piano.

Like Eunjoo Yun, Zeigler’s first scholar twenty years ago, who went on to create the Charleston Academy of Music. Or Florencia di Concilio, who graduated from CofC and New England Conservatory of Boston on full scholarships and went on to compose the scores for over twenty French films. Or his current “protégés,” from Malaysia, Uruguay and Chile, who just played at this year’s Spoleto.

All thanks to the music man.

“They can’t work or make any money,” Zeigler says. “So, they stay with me until they can pay for a place, washing windows and helping me a little.”

But, the biggest favor is when he can sit in his chair, surrounded by the years of his life, and listen to them play.

Zeigler was born in Florence in 1912 to a Charlestonian mother and a pharmacist father, who also operated a liberal weekly newspaper, Florence Morning News. In between helping out at his great-aunt’s bookstore and folding newspapers, Zeigler would listen to classical music with his family and hide under his porch with friends and watch the KKK ride past.

“We never had any money,” he says. “This so-called ‘Depression’ is nothing compared to what we went through.”

His life as a poet began when he attended The Citadel, at his mother’s request, “because they held marvelous dances.” Since, he has published two works of poetry: Alaska and Beyond, from his days as a Navy radioman during World War II, and The Edwin Poems, which contains his favorite, “Toss, Toss.”

He moved to Charleston in 1946 and opened the adored Book Basement, Charleston’s only bookstore for years, at Nine College Way. Twenty-five years later, College of Charleston bought the block, causing the shop to close.

Zeigler became interested in CofC twenty years ago for its generosity with talent and beautiful art. He began bestowing scholarships to young artists in need and ever since, several gifted students have been grateful recipients of his infinite kindness.

He is hardly done writing chapters to his story.

“People will ask me, ‘Mr. Zeigler, can I come play for you?’”

The answer is always “of course” as he takes a seat in his chair.

“Somebody’s got to help,” he says plainly, “and it’s nice to make new friends.”

Story and photos by: Jessica Kenny

The irony is you don’t have to be a Radiohead fan—or even know who they are—to get that joke. Actually, it might be better that you don’t.

All you have to understand is the profound, intrinsic need to express. Anything. In any way imaginable. It is on that universal impulse that Andrew Walker and Entropy Ensemble stand, evoke and inspire during their performances.

Walker is the founder, director and pianist of Entropy Ensemble: an innovative and invigorating instrumental band focused on reimagining the eclectic genius of alternative/electric/Thom Yorke-dancing rock band, Radiohead. But, E.E. doesn’t just want to collect your money, play for you and go on their way. No, they’re up to something much bigger.

They tie every project to one basic, ingrained, metaphysical principle: That the gap between different art—and people—is an illusion; amidst the appearance of chaos, everything—and everyone—are inherently connected.

Whoa. Deep.

Entropy Ensemble, under the mothership Entropy Arts, was founded four years ago by Walker. He diverged from his theater path to study music and theory composition at CofC, a risky move given his acting scholarship and his never touching a piano before—ever.

To Walker, though, the two art forms weren’t so different. “We’re all trying to bring something into the physical realm,” he says. “That impulse to do—to express—it all comes from the same place.”

And so, on that philosophy, Entropy Ensemble was born.

In fact, everything about the E.E. embodies the concept that everything is interconnected, right down to their symbol (a Rubik’s cube) and the very different musicians who make it up: Walker, Javier Orman (“Superman with a violin”), Lonnie Root (“his heart beats with the cello”), and “the most versatile instrumentalists [who form] the best rhythm section,” Ben Wells (bass) and Stuart White (drums).

Ever since they combined their visions, this refreshing and original group has grown, accomplished and surpassed more than they had dreamed. Radiohead guitarist Jonny Greenwood knows who they are. Walker composed the score for the short film, Autumn Rising. Last November, Walker conceived a finale production for the 20th Anniversary of the School of Arts at Sottile Theater called “Between the Lines,” in which they collaborated with Charleston’s Annex Dance Company, young vocalists, painters and graphic designers, not to mention famed virtuoso pianist and Walker’s personal hero, Christopher O’Riley. The sold out show’s success inspired them to envision Jail Break, which partners E.E.’s Radiohead Project with Ryan Bonner & the Dearly Beloved, Wadata and artists from all walks of life to reveal one melodically intricate yet conceptually powerful hybrid that will uplift even the ghosts of City Jail on May 1st.

For now, it’s Radiohead. But Walker is hardly about pigeon-holing.

“It’s flat-out good music,” he says. “But things change so quickly. If you want to be fresh, you have to be spontaneous and always have a blank canvas.”

Entropy Ensemble is not trying to “do” so much as they are trying to “undo” by lifting the limitations placed on expression with the intention to bridge a gap, to unite artists and to connect diverse audiences and minds.

“I eat peanut butter sandwiches every night,” Walker laughed. “I’m starving. But I’m totally fine with that. I’m doing what I believe in and I’m sharing with the world.”

Rock on.

EntropyEnsemble.com

Jail Break / May 1 , 7-11pm / Old City Jail

Story by: Jessica Kenny

Next thing we know, he’s in the national news spotlight, featured on blockbuster soundtracks, his songs are being covered on “American Idol,” and he’s touring the county to play for mega fans.

And he’s coming back home to play for you.

Ah, but the singer-songwriter we love so well lives elsewhere you say? Surely ‘coming home’ would mean he’s heading toward New York City, not Charleston?

Maybe so, but a childhood spent playing basketball with one of our favorite local artists, Robert Lange, ensures that Brendan will also have a second home where the winds blow warmer. A good bit of his second album was written while staying with the Lange’s, Rob and Megan, in the Holy City. Brendan even welcomed Rob back after a five-week trek through the Himalayas, playing an MTV Live style concert at Robert Lange Studios for an intimate gathering of select guests.

Missed that show? No worries – Brendan and special guest Matt White are playing for you at the Music Farm.

We love the soul-stirring ballads delivered by both of these rapidly rising stars. To say that the music and the lyrics give you chills is an understatement: they give you chills when you listen to them at home. Live in concert, it’s a whole different experience. This is top-notch talent that stays true to its roots.

We’re all about the upbeat groove of Matt White’s sound and the title of his latest album – It’s the Good Crazy – just says it all. Great music like this can certainly knock you off your rocker.

We know that Brendan can relate to the idea. The story of how he used to sneak into ballrooms to practice on the piano when he was too poor to rent studio space makes us love him all the more. That’s the definition of passion, isn’t it? Being so in love with your art that you’re willing to kick a few rules to the curb to immerse yourself in it?

So go ahead, let your hair down, relax, and get ready to let the smooth sounds wash over you as this pair of storytelling prodigies roll their fingers across the piano keys and carry you far, far away for a little while.

Now you’re the lucky ones.

Music Farm – Wednesday, March 9 – $10 advance, $12 day of show – BUY TICKETS HERE.

BrendanJames.com

MattWhiteMusic.com

Story by: Jason A. Zwiker

Dance instructor and creative director of the club, Stephen Duane, is a 6th generation Charlestonian who feels a strong connection to the music of the 20s and 30s. “I started this club to focus on the era where swing dancing came from, instead of looking at the modern clichéd commercial-type mentality, like the 90s zoot suit riot type of dancing, which is almost the embarrassing phase. The style of dance I’m teaching comes from a classier spot.”

He starts the night by giving an hour-long dance lesson focusing on the lindy hop (which evolved out of The Charleston) and then the band gets going and the floor opens up to all.

Dance time.

A few kind guys and gals make it a point to dance with the beginners so don’t think you can be a fly on the wall. Everyone will be swinging (in the G-rated way) in no time. And you’ll still get to see cool stuff…a handful of regulars are pro dance instructors who sometimes perform little dance numbers like “the hat trick,” harking back to vaudeville days.

Duane’s grandfather was a big band swing jazz musician so he says, “this comes from a super-deep love of the music, the time period, and it being in my blood. I’m trying to grasp things from a historical perspective. Since Charleston is the birthplace of this type of dance, our city has a big part in the development of jazz dancing.”

And as Duane suggests, where there is dance, there is music.

The V-tones are the house band and describe their music as a “vaudeville ragtime neo-retro-post post-modern beachfront quasi-primitive anachronistic revolutionary anti-inflammatory mass catharsis jazz freakout and philharmonic group therapy session.” Quite a genre.

At a recent “78’s night,” the Club showcased traditional music guru/virtuoso musician Roger Bellow spinning his well-worn vinyl collection. The music is just as center stage as the dancing.

You can come solo or with your partner (in dance or in life) and feel welcomed. The dance parties are held every Friday night at Spirit Moves, a studio right over the Ashley River bridge from downtown that features a smooth wooden floor and surrounding mirrors that help when you’re learning steps. A small cover charge – usually under $10 – includes the dance lesson, snacks and good, clean H2O.

Vintage vinyl nights and jazzy-themed parties are in your future if you want them. Prepare your jazz hands.

Story and Photos by: Dee Dee Arthur

The 21st annual Lowcountry Blues Bash is happening February 3rd – 19th. That’s 17 days, 25 venues, 50 acts, and 93 shows to be exact. And since blues musicians tend to be underrated and underpaid (no wonder they’re blue), let’s show them some Lowcountry love.

We talk to Davis Coen, the extraordinarily talented local bluesman, who shares his insider tips and “don’t miss” pick of the festival.

Coen requests one thing of you: come to at least one show to enjoy the indigenous music of the south. “You have a rare chance to see these musicians and support the blues community. It would be a shame to not acknowledge true American music.”

Coen himself will be playing four times during the Blues Bash, so you’ll have ample opportunity. His singing, songwriting and guitar chops are sought out at festivals around the globe and he spends most of the year traveling, playing and recording music in the Deep South. And he’s something of a celeb. Martin Scorsese, demonstrating his consistent good taste, hired Coen to create original music for his recent documentary about the blues. Coen brushes that off humbly and says that his contribution was just used “between stories” in the film.

Charleston has been home base for him for the last decade so he’s got a good feel for most of the venues and the audience that comes out to see blues music here.

“Getting people to come out to shows is usually kind of an uphill battle in a beach town. But this is the only big blues festival in February (nationally). It causes a resurgence of the presence of the blues in Charleston every year and brings people out to venues like the Mill in Park Circle and Home Team BBQ – places that support local and touring blues musicians year round.”

Here is the show not to miss, according to Coen: “Drink Small is hands down the man. The real deal. He’s it. The kind of thing you play in your back yard. (If you’re a legendary blues musician.) He is an essential element of the blues festival every year and has all the components – great stage performer, sad music, and blues wit.”

Almost all shows are between $0 and $15. World-class, Spoleto-worthy performances at a fraction of the price, all while you can still sport a jaunty scarf.

Ain’t nothing wrong with singing the blues this Valentine’s Day.

BluesBash.com

Davis Coen shows:
2/3: Home Team BBQ, West Ashley
2/10: The Griffon, Downtown
2/13: Home Team BBQ, Sullivan’s Island
2/8: The Mill, North Charleston

Story by: Dee Dee Arthur
Photos by: Ben Walters