By: Joseph VanBuren
Rating: 7/11

Drawing from a variety of influences such as old school reggae and modern soul, Queens-native Leeia has described her diverse sound as “urban alternative.” A fitting title, in the sense that alternative eventually became the mainstream. For, despite her being an unsigned indie artist, Leeia’s music is undeniably pop. Underground pop, if that isn’t a complete oxymoron. From the reggaeton-club vibe of “Satisfaction” to the catchy R&B melodies of “Ups and Downs” to the house bounce of “Love is Loud,” these are definitely tunes designed for the radio. Even the songs on her Myspace labeled as “rough cuts” are crystal clear in their production, and the songwriting is as solid as can be, perhaps even a tad cookie-cutter. Many artists with this much potential for mass appeal are merely living clichés, impersonating famous artists in an attempt to make up for their lack of talent and/or creativity. But Leeia has one thing going for her that keeps her out of that category: an amazing voice. She embodies both the carefree spirit of a teen and the experienced maturity of an adult, often in the same breath. She displays impressive range and control over her vocals, easily completing each masterfully crafted song, no matter the style. It’s her voice that gives Leeia credibility as a true artist; combined with the Hit Song Science-friendly tracks, she seems destined for the pop charts.

By: Shannon J. Effinger
Rating: 7/11

The jazz group GSP looks to the past and draws inspiration from an array of classic songs. The pace of “Anthropology (2009),” a cover of the great Charlie Parker tune, starts off slow and a little disjointed at first. But gradually, it captures the listener's attention. Nick Lyon’s improvising on alto sax is very intriguing, but he cuts it off rather abruptly and jumps back to the melody way too soon. However, it leaves plenty of room for Galen Pittman’s Fender Rhodes piano, which permeates the sound of the track from then on. “Half Nelson (2008)” offers a new take on the Miles Davis classic. In lieu of Miles’s signature punctuated trumpet sound, GSP opts for Pittman’s Rhodes once again at the helm of the piece. What will stand out for the listener is the selections themselves. These songs, created over fifty years ago, were considered groundbreaking in their time and GSP explores that innovation further while still honing their voice.

By: Eliza Coolidge
Rating: 7/11

The term jazz (and its profusion of associations and claims) has transcended into a genre-less ubiquity, about as taxonomically definitive as the word "human." Landon Knoblock, an experimental/jazz pianist from our very fine Brooklyn borough, is one to demonstrate the permeability of today's improvised music.

Out of his many projects and ensembles, his experimental trios exhibit the most dynamism and interest. Opposite of what the titles might suggest, Knoblock spares the heavy laser activity and space invasive techniques in songs "Scifi One" and "Scifi Two." Instead, he tactfully wanders from background to foreground with his ms2000 noise, stitching a very complex sonic weave of acoustic and electronic textures. Knoblock anchors the improvisation by propelling and contrasting the mercurial gestures of the sax and drums, keeping a fluid dialogue open. Knoblock is extremely responsive to the offerings of his ensemble members. At times he creates an ambling bed of notes to stage the the feral patter of the drums and the scampering ranter of the sax. At other moments he applies more drama and sustains ambient chords to support the melancholic explorations of the sax, as seen on song "Two." Knoblock also takes a few solos, shaping intricate paths and rhythmic cycles of spasmodic aggressiveness. Gliding over the upper register of the Rhodes with his right hand, he begins to dement his original motif by imposing angry jabs with the left, as if disputing himself. Knoblock's convulsions and self-contradictory envelopments show great character and poignancy in his playing. The listener can sense the human in him and appreciate his solo's introspectiveness.

The excitement and virility of Knoblock's improvisatory work is not as present in his compositions. His songs "Jaunted Memory" and "Grand Union" are flat in comparison, impatient and sloppily played. They rob the group of its inherent fluidity and sensitivity. Knoblock presents a confusing assortment of material. While some pieces are swaths of sonorous elaborateness and emotive depth, other compositions rival the lameness of Bob Ross' easy-paint landscapes. Ultimately, Knoblock needs to get out of the elevator and stay on the bandstand.

By: Ross Edwards
Rating: 8/11

Eric John Eigner’s music is an aural circus, rambling and self-satisfied, working magic as an audience drifts in and out, catching little bits and pieces of moods and scenery. The songs feature various instruments, usually with Eigner on drums, but there must be others where he provides whistle, or some strange atmospheric sound effect. These songs have a real natural flow to them, full of the tonal, rhythmic, and harmonic conflict equivalent to an emotional breakdown and following recovery.

“Solo Drums” is percussive ramblings formed into frenetic, short vignettes that realize vivid moods. The lazy bike horn on “Cockatoo” rides through the aviary of flute, trombone, and some stringed instrument, while the whole thing shuffles along like a loping drunken clown. A fog of emotions is born, something like actors on a misty stage portraying trembling insincerity and a feisty sense of sorrowful goofery. 

“Tousled Heads” swings into motion with a trombone and shiny drum interaction, the screeching coherency of a smattering of car accidents. Improvised phrasing unites the two instruments and separates them as they jabber across their lines and end quizzically. It seems that these musicians could continue on for days or their entire lives; the composition is in the approach, and not in the forethought. 

Eigner’s is not a world of drumbeats and songforms, melodies and choruses, or solos or consistency, although all of these may certainly be found. He deals more with vague scenes, like the listener has stumbled in late to some foreign play and is left to find out what the hell is going on, or to enjoy the nonsense of it. 

By: Shannon Effinger

A native of Southern California, Ian Rapien's promise as a saxophonist is heard when he digs deeper and finds other possibilities within the melody. An example of this can be heard in his cover of late saxophonist Joe Henderson’s tune "Inner Urge.”  Rapien's circular flourishes are playful, bringing new life to the classic track. However, he lacks a certain confidence on two classic pieces by jazz pioneer Thelonious Monk. Although I applaud Rapien's ambition, it takes quite a bit of time (and frankly, skill) to tackle the complexities of Monk's melodic compositions "'Round Midnight" and "Blue Monk." Rapien does, however, possess the passion for the music.

For a different take on Rapien, check out his nu-jazz fusion group Spectral Awakenings or his latest project, sax duo Secret Forest.