The Boston Globe from Boston, Massachusetts • 62

C14 Weekend The Boston Globe FRIDAY, JUNE 6, 2003 IIIIIIMMIIIIMIIIIIIIIIIIIIItllllllllllllllllllHIMIIMItlllllfllllllMlllllllltMIIIIIIIMIMIIIIIIIIIIIIIIIIIIIII brotherhood) and the pretty "2 Become 1," but for the most part, this is a candy-coated side trip that has an air of desperation. STEVE MORSE 1 til 1 -J mine earthy sensibilities, and if her gorgeous, back-porch vocal delivery doesnt grab listeners, then her foot-tapping melodies surely will. Working with longtime collaborator David Rawlings, Welch has once again embraced characters that she pities more than scorns. The opening "Look at Miss Ohio" is a catchy glimpse of a beauty queen stepping outside the limitations imposed by others and redefining her own world, while "WaysideBack in Time" is a melancholy glance at time wasted chasing the pleasures of the flesh. "One Monkey" is a stark and sturdy rural nimination, while "No One Knows My Name" is a sweet meditation on preordained anonymity.

As stirring as Welch's voice is, her musical accompaniment brings the material a timeless quality. Welch is at FleetBoston Pavilion on June 28. TOM KIELTY (7) 'V. NEW ON DISC Jewel 0304 Atlantic Records grown up, and Christina just getting too weird, it now apparently falls upon Jewel to breathe some new life into bub-blegum pop. This is a surprise album from Jewel, who had been carving out a reputation as a brainy folk-pop artist who was not afraid to let her spiritual side show.

However, this release is mostly escapist fluff that represents a giant step backward for her, though it may be well-placed commercially. Jewel adopts some trendy, electronic beats that make her sound like a junior-varsity version of Madonna, but if the gooey lyrics that really sink this project What happened to Jewel the poet? This time we get doggerel like "Run 2 me, IH run 2 let me crash into (from the plastic "Run and "If you want me, dear just beckon me, dear and I will appear" (from "Leave the Lights In the liner notes, Jewel writes that she hopes the album will "make you feel young and sexy and smart" She doesnt add that it might also make you feel embarrassed to listen to some of it The record has a couple of interesting tracks in "Stand" (a topical song that asks for John Pizzarelli Trio LIVE AT BIRDLAND Telarc Singer-guitarist John Pizzarelli is back on solid ground with his new double album, "Live at Birdland." His trio celebrates its 10th anniversary with this set, recorded last September in the famed New York club. It's a good career summation thus far for the trio, which includes his brother, bassist Martin Pizzarelli, and pianist Ray Kennedy. Now, Pizzarelli is a sure-fingered picker, but he doesnt have what you'd call great vocal range. But that's not important because basically what these guys do is have a lot of fun by playing tight snappy tunes reminiscent of the better cabaretjazz artists of yesteryear (Nat King Cole comes to mind).

In recent years, Pizzarelli had turned to sappier songs and famously prostituted himself to Foxwoods by writing and performing a jingle for the casino that has aired endlessly. "Live at Birdland" restores his reputation to its previous glory. He tells little stories between some of the tunes, engaging both the audience in the club and the one listening to the concert on the stereo. They reprise Blossom Dearie's sly hit "Rhode Island," turn in a breezy "Stompin' at the Savoy," cover two James Taylor songs, and, near show's end, offer up their crowd-pleaser, the extended "I like Jersey Best" on which Pizzarelli does dead-on impressions of a slew of famous musicians. A warm, winning two-plus hours.

STEVE GREENLEE CD Pick Earth, Wind Fire THE PROMISE Kalimba Records Maria McKee HIGH DIVE Viewfinder It's been seven long years since weVe heard from this former lead singer of Lone Justice. Her new record demonstrates just how much she's grown as a vocalist and songwriter. The 14-song set expresses McKee's open-hearted worldview and penchant for big musical gestures. She moves from tear-stained ballads to air-out-the-lungs rockers to densely produced paeans to soul. Thankfully, McKee has left behind her tendency toward Jo-plinesque over-emoting and only lets the vocals soar when the nature of the song dictates it (witness the horn and string-soaked title track).

The disc opens on a note of spiritual freedom with "To the Open Spaces," where McKee sounds as fresh and vivid as she did nearly 20 years ago when Lone Justice broke through. "Life Is Sweet" and "Be My Joy" also reflect a renewed spirit and wash away some of the sodden memories of McKee's previous hit-and-miss solo records. This set is produced by Jim Akin, and while he sometimes could have been more restrained and allowed McKee's vocals space, the results are rewarding. McKee is a major talent. This showcase should remind audiences of what they've been missing.

McKee is at the Paradise an June 14 with Amy Fairchild. KEN CAPOBIANCO Let's state the obvious: This latest CD by the legendary funk and group isnt a classic like "That's the Way of the World," "Gratitude," or "All All." It is a pleasing return to form, and arguably the most consistent EWF album since 1981's "Raise!" Thafs because they've finally recaptured what made them one of the best groups of the 1970s and early 1980s spirited, uplifting lyrics about love, the hopes of humankind, and the point-counterpoint of Maurice White's soulful voice in conjunction with Philip Bailey's ever-soaring falsetto. (After 30 years, Bailey is still hitting the most impossible high notes. Listen to his ceiling-scraping fade on "Betcha'." Instead of contorting themselves to conform to contemporary tastes a problem with much of their 1990s output here EWF sticks to its unique sound of insinuating horns, gorgeous vocals, and Verdine White's thick-as-honey bass lines. Although the effects of Parkinson's disease have kept Maurice from touring, his voice is steady and sweet especially on the uptempo ballad, "Why." Unlike most albums by veteran acts, this CD isnt laden with guest turns meant to appeal to as many demographic markets as possible kowtowing to such demands completely upended 1 990's "Heritage." This time, the collaborations are used sparingly, but wisely.

Angie Stone is the perfect addition to White's and Bailey's voices on "Wonderland," while Gerald Albright delivers a spicy sax solo on "Never." Unfussy and sincere, this is well-crafted for grown-ups. EWF headlines FleetBoston Pavilion tonight. RENEE GRAHAM I -J, Gillian Welch SOUL JOURNEY Acony Records Gillian Welch is quietly establishing one of the most impressive catalogs in contemporary roots music. The Hollywood-born, Berklee-educated singer-songwriter is among the finest of her generation at conjuring the myth of such revered artists as the Carter Family. On her fourth release, Welch continues to nil- Pressure mounts for Longwave to go the distance The Spree brings big sound to live shows, CD support of the "Endsongs" CD he released for the band.

"They're really in it for the art, and they don't run around and play rock star," Sacher says. Peers likewise ascribe an integrity to Longwave and its music. Aaron Perrino played with Long fort, Schiltz says. While he appreciates melodies that are "simple but interesting," his focus on the songs' musical arrangements involves plenty of guitar pedals and studio effects. "Maybe for some people it's not but for us it's a lot of work to get something that erywhere it has played.

He says there's a good reason for the disconnect on "Beginning the ensemble was only just getting its legs under it when the disc was recorded. "What you have to realize is that 'Beginning that was done almost three years ago. It was a demo," DeLaughter says. "We had only been a band for about three months. It was just so we could get gigs, for people to get their head around, because no one could quite get that we had 24 members in the band.

Now you THE POLYPHONIC SPREE Continuedfrom Page CJ2 course of a show because the band's music works. The robes, which give the Spree the appearance of a gospel choir, arent simply an attention-getting mechanism. Nor is the size of the band a gimmick. DeLaughter, along with his former Tripping Daisy bandmates Mark Pirro and Brian Wakeland, formed the ensemble with the intention of creating a variety of pop music that functions on a spiritual level, music to rock the heavens. wave in Boston and New York while fronting the recently defunct Boston rock outfit the Sheila Divine.

He jokes that Longwave lacks the cool image of its fellow New York rockers. Longwave plays tomorrow at 9 p.m. at T.T. the Bear's with the Fly Seville and Phaser. Tickets $10; 617-492-2327.

we're happy with," he said. The work came to fruition in March when "The Strangest Things" hit the streets, following the release of several songs on the "Day Sleeper" EP from The band has lightened up a bit on several songs recently recorded as B-sideS, which have been worked into the live show. For one song, Schiltz takes the stage armed with a ukulele, with Ferguson on glockenspiel duty. The band has enjoyed the crowd's perplexed reaction, Schiltz says. "They're not sure if they can smile," he said.

"A lot of bands are so cool and collected. And then Shannon comes in with the glockenspiel, and if just plain to everyone that it's OK to laugh." Having fun with the music goes far toward keeping their nerves in check and allowing band members to enjoy their current status on the brink of success. But Schiltz remains philosophical about the industry tilt-a-whirl endured by every band. "It can turn on you," he says. "I dont want to be cocky about it Six months from now, the record could be a total flop, and IH be bitter, and then we can talk again." LONGWAVE Continuedfrom Page C12 cate with as many people as possible." Among those people were the Strokes, who took a liking to the band's sound.

Longwave actually got its first break in the summer of 1999 before it was even a proper band. Schiltz recorded a few songs with bassist Dave March ese in guitarist Shannon Ferguson's studio. The demo found its way to Rob Sacher, owner of the Luna Lounge in New York and its offshoot label, Luna Sea Records. Sacher was so impressed he offered to release a record. The band finalized its lineup, adding one of Schiltz's old friends from Rochester, Mike James, on drums.

"It was definitely the impetus to take the band more seriously," Schiltz says. It was that devotion to their music that impressed Sacher during the early "peanut-butter budget" days, when he booked and promoted Longwave's first tour in "They earned their contract with the music, not for their hair," Perrino says, laughing. And what makes the music so good, Perrino says, is the guitars. "It is the strongest part to me," he says. "They have a great guitar sound, kind of postpunk '80s." Achieving an atmospheric sound requires a good deal of ef- Boston's Fenway Recordings.

The songs' lush melodies and minimalist yet romantic lyrics build a melancholy sweetness that murmurs like rainy-day music without being dark. The jagged guitar effects and underlying retro sound, which recall the Psychedelic Furs and early U2, give the songs just enough of a stiff upper lip. The Polyphonic Spree plays an 18- plusshowatthe Paradise Rock Club tomorrow night Tickets are $15. Call 617-562-8800. The look is meant to advance that purpose as much as the choir and the incorporation of orchestral instruments ranging from flute and piccolo to viol to French horn.

DeLaughter wants both audience and band members have the Polyphonic Spree playing those same songs live and it goes to a whole different level. "The new record's a lot broader," he says. The new record kind of feels like music to me. It's more like an opera than anything else." Thafs 'Everything' offers signature Steely Dan humor not to say that there's a unifying narrative thread that runs through the music, he explains, only that there's as much passion in the performance as there is complexity in the music. Assuming thafs true, the new disc (which is expected be released sometime in the fall) should bring the Polyphonic Spree up to the level Tripping Daisy had reached before the death of guitarist Wes Berggren brought that band to an early end.

On its last two records, "Jesus Hits Like the Atom Bomb" and "Tripping Daisy," that band worked a hook-anchored experi-mentalism that had it sounding like a warmer, less intellectual cousin of the groundbreaking, but typically detached, Flaming Lips. The Polyphonic Spree has a short summer tour on tap, beginning Saturday at the Paradise Rock Club. Then, DeLaughter says, it will be time to finish up the new record and establish the band as a recorded force as well as a live spectacle. "I'm real excited," DeLaughter says, "for one, to be able to have a second opportunity at this, and for another to be able to do it with a band like this. If been an amazing adventure thus far.

I think if an amazing band. I know Fm in ft, but really, there's just nothing like to feel as well as hear the intent of his compositions. And if reports from those who have witnessed the Spree's live shows are reliable, he's accomplished that goal in the live setting. "The Beginning Stages of however, only hints at the scale and effect of the Polyphonic Spree's performances. The music is there, of course, but it's not as impressive on disc.

It's just too easy these days to create large-ensemble music in the studio. "Beginning Stages" might easily have been made by a much smaller outfit using multiple overdubs. The 10 untitled songs on "Beginning Stages" are well written, intricate, sunny, and invariably lovely. They draw on the delicacy of woodwind solos, the majesty of soaring strings, and the sheer power of the 12-voice choir. But they only hint at the power DeLaughter has attempted to instill in them.

The performances on the record fall short as a result of a sort of academic coldness about the way they're performed, a sense that band members are playing and singing the notes but not giving much of themselves to their performances. DeLaughter says the new record will be more engaging, more in keeping with the spirit of a live ensemble that has captured the attention of both fans and critics ev Asa Brebner has a Wednesday residency at the Kendall Cafe this month. His guests next Wednesday include Kendra Flowers and Cash Monies and the Jetsetters. The Cambridge club Rhythm and Spice has announced that it is closing. Evan Dando, who plays the Middle East Downstairs on Wednesday, has Juliana Hatfield playing bass in his band Phish's "If festival, set for Limestone, Maine, on Aug.

2-3, is near-ing 50,000 in ticket sales. Tonight: Kabir brings his unique slant on hip-hop to the Western Front, Roy Rogers and Norton Buffalo offer some experienced blues at the House of Blues, and Waltham takes its '80s-style rock to the Middle East Downstairs Tomorrow: Lou Reed promises an "intimate evening" at the Or-pheum (by blending Velvet Underground songs all the way up to tracks from his latest disc, "The Boston Rock Opera's 10th anniversary show at the Middle East Downstairs, Guy Clark at the Museum of Our National Heritage, Bonnie Raitt keyboardist Jon Cleary at the House of Blues, and the Boogaloo Swamis at the Sea Note in Hull. Sunday: Ryan Montbleau at House of Blues. Monday: Rounder Records' Kathleen Edwards at the Paradise. pie Plan, Andrew W.

and many others. There will also be a skateboarding ramp, a BMX bike jump demonstration, and a giant climbing wall for the extreme sports crowd. Tickets are $28.50 and go on sale today at all Strawberries Record Stores, by phone at 800-477-6849, or online at tickets Caught in passing: Grappa Boom at Henrietta's Table in the Charles Hotel: Grappa Boom is a jazzbluegrass trio featuring bassist Mike Gordon (of Phish), man-dolinist Jamie Masefield (of the Jazz Mandolin Project), and acoustic guitarist Doug Perkins. The Vermont-based trio has only played a few gigs, so it developed confidence almost as it went along during this benefit show for the Farm School in Athol. The picking was sublime, and Gordon hit some vocal peaks on Harry Nilsson's "Everybody's Talkin'," though he struggled a bit on Roy Orbison's "Blue Bayou." Still, this was a genuinely warm show from some friends who love playing together.

Let's hope an album follows. Bits and pieces: The South Shore Music Circus in Cohasset opens its season with a sold-out show tonight by Tony Bennett commercial and the economic and the personal realm are blended together in a melange of overlapping events." There's also plenty of dark humor on the album. In "Slang of Ages," Fagen sings, "Did you say you were from the Netherlands, or was that netherworld?" And in "Lunch With Gina," there's the droll verse "I'm about to go postal when Gina walks inGod knows the service could be better." God only knows how Steely Dan does it but Becker and Fagen have made a career of such smart-alecky, underdog humor. And there will be more of it when Steely Dan headlines the Tweeter Center on Aug. 16.

Vans Warped to Brockton: The annual, punk-oriented Vans Warped Tour is on July 31 this summer, but it is moving from Suffolk Downs to the Brockton Fairgrounds. "We moved it because Suffolk Downs extended their racing season all the way until August" says Sylvia Cunha of MassConcerts, which has booked the local Warped date. "But we did the WAAF Field Day at the Brockton Fairgrounds last year, and it worked out really well." The musical lineup includes the Dropkick Murphys, Rancid, the Ataris, Sim- ROCK NOTES Continued from Page C12 cause it allowed us to keep our underdog status." That underdog status should continue with Steely Dan's new CD, "Everything Must Go," which comes out on Tuesday. The precise, multilayered vocal harmonies, piquant instrumental fills, and curmudgeonly lyrics are quintessential Steely Dan. The duo of Becker and Fagen, augmented by essentially the same musicians as last time, turn their attention to the transitory side of modern life in tunes such as the title track and the opening "The Last Mall," with the satirical line, "If last call to do your shopping atthelastmalL" As for "Everything Must Go," Fagen sings, "I move to dissolve the corporation in a pool of mar-garitas.

We're going out of business, everything must go." As Becker explains, 'Everything Must Go' is a title we've had on our list for years. As the album started to evolve, that was probably one of the last one or two songs that we wrote. We could see how events in the world and how some of the other stuff on the album would work into that theme nicely. There's a lot of stuff on the album where the social and the.