The Boston Globe from Boston, Massachusetts • 47

C15 Music New England Conseratory www.emmanucl.edulibrarynec.html Rock Notes Solo Jonatha Brooke tries out her new 10-cent Wings' i THE BUSIUN ULULffc. KIUAI.UUTUCLKSl, lTf By Steve Morse GLOUE STAFF mil. I iiiiiu II MCTpMiUiii.iiiiiiMi.iiiiiiii,ii.iU.f I 1 that name, which opposes a plan to demolish a building at Mass. Avenue and Magazine Street in order to build a $20 million, multi-use complex. Lined up to perform Wednesday are Rivers Cuomo (from Weezer), Permafrost, the Ape Hangers, Nana, Willard Grant Conspiracy, Mile Wide, Lovewhip, the Ray Loves, Emily Grogan, and Penguin.

It's an 18-plus show. Rock the dark ballad, "Shame on Us," which merges acoustic guitar with spacy synthesizer, she adds, "It's the little failures every day that take you away." On the softly intoned "Landmine," she sings, "I give my love to you and you walk away too soon." "There's a lot of my life in this record," says Brooke, though she refrains from dis mith has played Boston on New Year's Eve, but the first time in the Fleet. Speaking of the Fleet, Kenny Rogers plays a Christmas show there Dec. 1. Elsewhere: The Sundays are at Avalon Nov.

29. Tickets on sale today. The "New Women's Voices" date at Sanders Theatre Nov. 14 has Sloan Wainwright Karen Pernick, Nanette Malher, and Connie Kaldor. The "Rhythm of Love" tour has Will Downing, Boney James, and Regina Belle at the Or-pheum Nov.

25 (on sale today). Smooth Jazz 96.9 presents Rick Braun, Richard Elliot, Peter White, and Craig Chaquico at the Orpheum Dec. 6. The WBOS 92.9 series returns to South Station Thursday at noon with the cast of "Stomp" and a set from Behan Johnson. Sister Hazel is there Dec.

4. Cancellations: Genesis has scrapped its US tour, and Desmond Dekker has postponed a Nov. 18 date at House of Blues. The Cure will headline WBCN's Xmas Rave at the Orpheum Dec. 2 with Tanya Donelly and Tara McLean.

Tix on sale Nov. 6. Dave Matthews, Alanis Morissette, or some other acts you'd think would qualify. Instead, the Spice Girls are on it Ugh. Jane's Addiction is on MTVs "Live from the 10 Spot" tonight at 10 New Metallica album out Nov.

18 The guitarist's guitarist, Duke Levine, plays with Carol Noonan tomorrow at Johnny D's and with Jonatha Brooke at the Paradise next Thursday. He also has his own show at Toad in Porter Square on Wednesday New residencies: The Chandler Travis Philharmonic each Tuesday at the Kirkland Cafe; Pat McDonald (formerly of Timbuk 3) on Mondays at the Kendall Cafe; and Daniel Carter on Thursdays at the Kendall Tonight Laurie Sargent and Charlie Farren rock the Attic in Newton, Michigan Black-snake funks up the Cantab Lounge, and there's "fetish billiards" night at the Rack with Lunar Plexus. Tomorrow. Suzzy Roche and Lucy Ka-plansky at the Emerson Umbrella in Concord, Bellevue Cadillac at Harpers Ferry Sunday: Toots the Maytals do the pressure drop at House of Blues Tuesday: Ben Folds Five at the Roxy Wednesday: Refreshments at the Paradise, and country-rocker Mary Cutrufello, a Yale graduate, at Johnny D's. 'slands off the Massachusetts coast hold special meaning for Jonatha Brooke.

Three years ago, she wrote her first solo al- bum, the well-received "Plumb," during a retreat to Martha's Vineyard. She's about to release the followup, "10-Cent Wings," which she penned last year on a songwriting escape to Nantucket. "I need the seclusion to finish things I'm usually walking around with fjve or six unfinished songs in my head," says Brooke, whose new record comes out Tuesday, followed by a Paradise show Thursday. "Sp I figured I'd try Nantucket this time," she adds. "It was raining, but I got a lot done.

I was out there for eight days. That was just about exactly a year ago. I loved the atmosphere and the intimacy of the Atmosphere and intimacy are two perfect words to describe the new york by Brooke, who formerly sang with the popular Boston band the Story. A Newton native who also studied ballet and attended Amherst College, Brooke crosses folk, rock, jazz, and classical in a stately, some-times'alluringly oblique manner that gives her a distinctive, original style. It's no wonder that two of her idols are Joni Mitchell and the Brazilian Elis Regina.

"Joni was a big influence, but Elis Regina had even more of a vocal influence on me," says Brooke. "She was so emotional and powerful and rhythmic and sexy." A critic's favorite who appears poised to break nationally, Brooke writes piquant, Bruce Cockburn-like songs laced with romantic vulnerability. "You say you're OK, but you live your life like it's over," she sings in the new single, "Crumb." On the ALBUM ORIENTED ROCK The following are the most frequently played songs on album-oriented radio stations in the Boston area. IMS WEEK LAST TITLE WEEK ARTIST NEMO returns: The New England Music Organization music showcase and conference is at the Copley Plaza Hotel Jan. 16 and 17.

Kicking it off are the Kahlua Boston Music Awards at the Orpheum Jan, 15. NEMO also showcases 200 acts in 20 venues in the area that week, from the Middle East to Mama Kin. The deadline to apply for the showcases is today. Call 617-338-3144 or check the website at www.nemo98.com. Bits and pieces: The latest Entertainment Weekly has a list of the "101 most powerful people in entertainment." Very few musicians are on it.

No sign of the Stones, U2, Halloween's here so look for Jim Morrison, Jimi Hendrix, Janis Joplin, and all your favorite dead rock stars or folks dressed like them trying to win $500 -at Bill's Bar tonight. For live entertainment, the acerbic but accessible Elevator Drops are at the Middle East Up and the hard-crankin' Sam Black Church are Down. The ever-scurrilous Syphiloids are at the Rat. Tomorrow ME Down, it's the son of Iggy, David Yow, and his band the Jesus Lizard; Sunday, you have Scottish popster Edywn Collins with Frank and Walters. Timbuk 3 singer-guitarist Pat MacDonald starts a month of residency Mondays at the Kendall Cafe; the Chandler Travis Philharmonic begins a month of Tuesdays at the Kirkland Cafe.

Jim Sullivan Freeman sees a future for young musicians 1 -Vo walk on the sun i I WZ SMASH MOUTH 2 4 EVERLONS 1 FOO FIGHTERS 17e EVERYTHING TO EVERYONE 3 EVERCLEAR I TWTHUMPHW I CHUMBAWAMBA HtTCHIN RIDE GREEN DAY TOUCH, PEEL STAND 11 DAYS OF THE NEW 7 SO WHAT! JANE'S ADDICTION 10 DONT CO AWAY 1 OASIS SUGAR RAY 10 10 UQ SUPERMAN'S DEAD OUR LADY PEACE To MOST PRECARIOUS 1 3 BLUES TRAVELER 14 44 SUMMERTIME 10 THE SUNDAYS Mai)A WRONfi NUMBER THE CURE IE 4 4 WRONG WAY 13 It SUBLIME 1C 16 CRIMINAL 10 19 FIONA APPLE 1Q ANYBODY SEEN MY BABY? 13 THE ROLLING STONES 1Q SEMIXHARMED LIFE lO THIRD EYE BLIND MATCHBOX 20 Ofl 47 THREE MARLENAS aW If THE WALLFLOWERS pop, and classical for an intimate Clearly, Brooke is intense, but she's also got a sense of humor; witness the "10-Cent Wings" title. It comes from an image spotted before a concert date with the Story. (Consisting of Brooke and Jennifer Kimball, the Story released two discs: "Grace in Gravity" in 1991 and "Angel in the House" in 1993.) "We were playing around State College in Pennsylvania at a place called Stoney's Roadside Tavern," says Brooke. "The sign said 'Happy hour, 10-cent wings, cheap beer, and at 10:00, the I loved that phrase, 10-cent wings. I filed it away and knew I'd be using it some day." That time is now.

Save Central Square: Benefit concerts cover many issues these days, but next Wednesday at the Middle East is one close to the hearts of many Cambridge folks. The Save Central Square benefit will raise funds for an ad hoc citizen group by 1 Freeman: "I know what it feels like to perform." students to be true to their natural gifts, and that there are any number of acceptable outcomes to musical study. It is not a disgrace to wind up as a conservatory president or a music critic." Freeman believes that stimulating greater public demand for music something that can only be accomplished by musicians themselves, people who have been thinking about musical matters all their lives. "Musicians are conditioned to think of themselves as victims," Freeman says, "and who can blame them? What can you say to someone who has practiced the violin all his life and at the age of 35 finds himself on the inside of the third stand of an orchestra that is about to go out of business? But musicians need to start thinking of themselves not as victims but as part of the solution. It's terrible to see that members of even the greatest and most successful ensembles are not enthusiastic about their work; this is the result I believe, of too narrow an education.

I remember once going home from a thrilling performance of the Brahms First under Serge Koussevitzky, the music director. We were giving one of the principal players a ride home. He asked us what we were doing on Sunday. My dad said some friends were going to join us to play the 'Trout Quintet and some other chamber music. When his colleague found out that we were doing it for the sheer life-enhancing pleasure of and not to prepare for a concert, he thought they were crazy.

There's something wrong with that attitude, and that's why I've been doing what I've been doing." solo CD. Block: The AIDS Action Committee will benefit from Rock the Block, a dance night held at various Lansdowne Street clubs Sunday, Nov. 9. Bands include Combustible Edison, the Sugar Twins, Boo Kitty, and Garage Dogs. Last year's event raised $324,000.

"Rock the Block helps us raise money, but it also get thousands of young people thinking about AIDS," says Larry Kessler, executive director of the AIDS Action Committee. Pledge sheets (each dancer is to raise $75) are available at Newbury Comics, Videosmith, and West Coast Video, or call 617-424-9255. Concert update: Aerosmith's New Year's Eve show at the Fleet-Center goes on sale tomorrow at 1 p.m. It will be the eighth time Aeros- SOUND CHOICE Did somebody say Halloween? Yes, there are Halloween gigs tonight. If you can scrounge a ticket there should be a beauty with Blues Traveler at the Orpheum.

The band members enjoy getting as crazy as loons once in a while. Stranger still should be the Strangemen with Brother Cleve at tonight's Halloween party at the Lizard Lounge. Tomorrow, there's a CD release show with the estimable Carol Noonan at Johnny D's; another CD release party by skilled bluesman Kevin So at Club Passim (with Mica Richards and Bob Moses sitting in); and a soiree with soul legend Ruth Brown at the Holiday Inn in Mansfield, benefiting the Barry L. Price Rehabilitation Center. Steve Morse Madredeus BMADREDEUS Continued from Page C14 Madredeus (pronounced ma-drey-DEY-oush, after a neighborhood in Lisbon where the group rehearsed in a church) indeed revolves around Salgueiro's voice, giving her a comfortable setting that blends folk, pop, and classical styles.

An advance tape of Paraiso" suggests that even without the added colors of cello and accordion, the essence of the group's sound remains intact For one thing, that essence is not rooted in instrumental settings as much as in saudade, a Portuguese word that most closely translates to yearning or longing. Magalhaes says he bases lyrics on the philosophy of saudades. "Very few people understand the literary point of view of saudades, the poetic point of view," he says. "It's something that people know from the songs, but they don't have a literary format to relate ft to. They feel saudades.

It's easier to talk about saudades with a foreign person than in Portugal, where they don't understand how saudades can be a source of inspiration for music" Saudades also links Madredeus to fado, the traditional music made famous by singer Amalia Rodrigues, though for starters, the group doesn't have a 12-string Portuguese guitar as fado does. "Madredeus has nothing to do with these old songs, or even their ecosystem where they're actually Brooke blends jazz, cussing her personal life in greater detail during the interview. She's far more comfortable talking about the music, which was again produced by her husband, Alain Mallet "I'm in love with this new record," says Brooke, who now lives in Los Angeles. "I drive around LA with it blasting. Most artists probably don't feel that way about their records.

"I just wanted to explode any sense of limitations. I wanted to push myself as far as I could in the range of styles. I do feel I'm a product of pop radio that's what I love. But I guess I dabble in a lot of different definitions of that. Folk, rock, and classical music were huge influences, as was jazz, because I'm married to a jazz pianist.

Maybe what makes my style different is that I'm drawn to very complicated, intense chords. I like more notes per square inch, and the most tension possible" poser from Needham had captured Gillet's personality!" Like Bernstein, Freeman chose Harvard. During his undergraduate years, he began to concentrate seriously on the piano, studying with Gregory Tucker at MIT and with Artur Balsam and Rudolf Serkin at Marlboro in Vermont "In the summer of 1956, the other pianists at Marlboro were Malcolm Frager, Anton Kuerti, Van Cliburn, and the 12-year-old James Levine. Mr. Serkin told me I could become a real pianist but it would take me 10 to 15 years, so I decided against it At Harvard I won a summa for my thesis on cadenzas for Mozart piano concertos and then went to graduate school at Princeton.

I wanted to become a professor in a university, and I did, although when I was at Princeton I also conducted the orchestra. Joseph Robinson, now the principal oboe of the New Philharmonic, was in that orchestra, and so was Thomas W. Morris, former managing director of the Boston Symphony, who now runs the Cleveland Orchestra." After Princeton, Freeman returned to Boston to teach at MIT from 1968 to 72, a time when he regularly appeared in recital with such prominent musicians as former BSO concertmaster Joseph Silverstein. It was also during this period that Freeman reached some crucial understandings. "I really came to understand that musical education was not being properly done and decided to try to do something about it The Eastman School gave me the opportunity." Freeman guided the Eastman School with imagination and daring for 25 years before returning to Boston this summer.

The biggest issue in musical education today, Freeman says, is that the supply of capable, highly trained musicians is out of proportion to the demand. "We have done a better job of preparing musicians than ever, but there is less and less demand for their services. Part of my work has been to limit the supply that is, to give music students the broadest possible conception of their own possibilities, the opportunity to decide who they really are. Even if a person has only modest gifts as a saxophonist he can become president and there's nothing wrong with that A school should be able to persuade is it updates songs of longing FREEMAN Continued from Page C14 pant. He will play the piano, collaborating with his predecessor, cellist Laurence Lesser, and with Fortunate, and he will conduct the finale of the Preparatory School concert Freeman, who has been a performer all his life, says he is now primarily in "futures work" working to assure that young musicians will be prepared to assure their own futures in a culture increasingly indifferent to what they want to do.

Freeman is now 61, and his career has taken several unexpected turns. An oboist in childhood, he long ago donated his oboe to the Eastman School. He no longer has time for the kind of musicological research that once engaged him. He has "forsworn" conducting because he has no desire to become a full-time conductor; he has noticed that full-time conductors are seldom eager to welcome part-time newcomers to their ranks. But all of Freeman's apparent changes of direction have woven a pattern, and it seems fitting that he should enter the latest phase of his career back where it began, in Boston Freeman grew up in Needham and attended Milton Academy.

And some things, like his relationship to the piano, have remained constant Freeman does intend to continue playing the piano because he loves it and because of its "symbolic value." "I want the students to know that I know what it feels like to perform." Freeman started off on the oboe at 10 and at 13 was studying with the BSO's principal oboist Fernand Gil-let As a teenager, Freeman might have gone on to study at the Curtis Institute with the renowned Marcel Tabuteau but Leonard Bernstein strongly advised his father against it "Get him a real education, along with" very good oboe lessons." As a teenager, Freeman also studied composition with Nicolas van Slyck, and wrote an oboe sonata "after the manner of Paul Hindemith and submitted it to a contest sponsored by the New York Philharmonic," he says. "They told me it would win second prize if I found a better name for the piece, so I called it 60 High which was Mr. Gillet's address-. I got a great review in the Globe for the way the teenaged com a mdicates fast camber 1992 BP1 Comrrainicstiona and Broadcast Data Systama. IWa chan a constricted by BMtoord magazine from mf by Broadcast Data Systama.

does from when I was very little. But I never had that dream of being a singer. "The group is my grade school. When I say I'm privileged, it's really true. I have been able for almost 11 years now to be with composers who exclusively compose songs for me." In addition to Rodrigues, Salgueiro cites Ella Fitzgerald, Maria Callas, and Sinead O'Connor as singers whom she admires.

"I like to listen to all kinds of music," Salgueiro says, "because I think it's interesting to understand how other cultures approach music to express their feelings." Madredeus has developed a modern expression of Portuguese culture over five albums including 1990's "Existir" (featuring Pastor," a No.l hit in Portugal), 1992's live double-disc "Lisboa," and last year's "Ainda," the soundtrack to Wim Wenders's film "Lisbon Story," in which the group appeared. Madre-deus's back catalog has just been released in the StatesT "The main purpose of our music," Salgueiro says, "was to sing in Portuguese, to follow our ancient themes of poetry, and discover new things to say in our language. When we are talking about poetry, we will talk about feelings, love, the experience of life itself. I think life has all those elements, and sometimes it-will be very melancholic and sometimes it will be full of joy." 'Our music also has the great influence of our travel and TERESA SALGUEIRO played," Magalhaes says. "But these songs, fado, also relate to saudade, and many are songs about feelings of loss or feelings of desire." Salgueiro was singing fado in a bar at age 17 when she was discovered by Magalhaes.

"Our music is so very focused on the words, and that's something it has in common with fado," she says. "I think that being Portuguese and being from Lisbon, of course we have that influence. But our music also has the great influence of our travel and experience as musicians." Before Madredeus, Magalhaes worked as a bass guitarist in a rock band, and sought a new setting for his originals. "I was searching for a female voice," he says, and Salgueiro was the answer. "She represented the voices of my country, the folk music, the fado and also, each note was a very beautiful sound." "Before entering the group, I had no training at all," she says.

"I was singing as almost everyone.