Drinking from Puddles on 11/10/10
Live on Drinking From Puddles for 11/10/10 both Mark Growden and then Cheyenne Marie Mize !!
First up: Mark Growden !
"As a composer and performer, Growden has released several critically acclaimed albums and performed at venues such as the Fillmore and Great American Music Hall in San Francisco, and Tonic and The Knitting Factory in New York. He has performed and collaborated with a wide range of musicians and artists including members of The San Francisco Opera, Bob Weir, Hamza el Din, Kid Congo Powers, John Santos, Omar Sosa, Remy Charlip, Faun Fables, and Stan Ridgeway. He has composed original musical scores for a number of dance and theater companies including Joe Goode Performance Group, The Crucible, and Alonzo King's LINES Contemporary Ballet with whom he and his collaborators won the Isadora Duncan Award for Best Original Score for a New Dance Piece. He has scored several films including 2005’s Blood Tea and Red String, which won Best Animation at the San Francisco Independent Film Festival and at the Fantasia Film Festival in Montreal. Growden also co-produces San Francisco-based COVERT – a site-specific concert series with famed artist John Law."
Then later: Cheyenne Marie Mize !!
“There’s so much space between notes on Cheyenne Marie Mize’s debut album, “Before Lately” (sonaBLAST!), but hardly any air. Last year, on “Among the Gold,” an EP of 19th-century traditionals recorded with Will Oldham, she was a steady beacon for the purposefully erratic Mr. Oldham. On this sometimes startling collection of tough, dreamy, cloudy-sky country and chamber pop, Ms. Mize deploys her tools sparingly but effectively. Ms. Mize, from Louisville, Ky., has a rare voice, sweet without being cloying, and weary without hopelessness. On “Not” and “Waiting” she’s deliberate and undistractable, suggesting a more centered Fiona Apple. At the beginning of “Lull” just a handful of piano notes add up to something oceanic, filling a full minute before she enters with a soft whisper. “Rest” uses just a few tools — a drowsy guitar, a brushed snare — to create a heavy air of expectation. “I just want a piece of your mind,” Ms. Mize sings, drawing the sentence out over several measures, “But your mind is on the rest of the world/And how can I compare to that?”--The New York Times