Hall & Oates live at the Troubadour, 5/23/08

After sitting through the drudge that was 'Indiana Jones and the Kingdom of the Golden Skull', I felt let down by one of my favorite 80s icons. Fortunately, the very next night, the 80s were proud and potent at the Troubadour, where I saw the triumphant return of Daryl Hall and John Oates, playing the venerable club for the first time in over 30 years.

I've been a Hall & Oates fan since the first time I heard 'Sara Smile' at a high school party. I've been seeing them live in concert since 1977. I've seen them in concert more than any other artist, by far. H&O were the first band that I'd ever seen who rearranged their songs for a live presentation, giving me a fuller experience of their music.

Now, over 30 years later, Hall is 62 years old and still a full-headed blond, while Oates, 63 and still fit, anchors the show. What made the show extra special were two things: an opportunity to hear rarely or never before performances of songs from their earliest albums, in addition to all of the hits; and hearing Daryl Hall's voice in spectacular shape. I saw them at the Hollywood Bowl last summer and Hall sounded better than I had heard in twenty years. He was even better at the Troubadour. He hit high notes he hadn't hit confidently in a long time and his interpretative skills gave classic hits new life.

H&O have always had an outstanding band, and this time was no exception. Former bassist T-Bone Wolk handles lead guitar now and keeps the band on its toes. They played almost everything you'd want to hear, from She's Gone to I Can't Go For That. Playing for over two hours with two encores, there were still dozens of familiar songs that they never got to.

The crowd was a mix of middle-aged fans (like myself) and a lot of kids in their early twenties, who seemed to know the words to all of the songs. Daryl Hall looked like he was having the absolute time of his life onstage and the audience clearly shared his enthusiasm. Walking back to my car, the bad taste of 'Indy' was replaced with the sweet realization that sometimes you can go home again. Hall & Oates were as good in 2008 as they were in 1978, and I took great comfort in that.

Kinda Can't Go Home Again

I pretty much ran the gauntlet of movie fan emotions when it came to the new Indiana Jones flick, 'Indiana Jones and the Kingdom of the Crystal Skull'. When it was announced, I wasn't interested, largely because George Lucas hasn't had a good story idea in decades and Harrison Ford has been a constipated curmudgeon onscreen for the last fifteen years.

Then I saw a photo for the film and Ford looked right, and I started having a bit more interest mixed with anticipation. Then I saw the poster, a great illustration by Drew Stuzman, and I started getting excited. Saw the trailer and it felt right. I thought to myself, 'well, I enjoyed Rocky Balboa and had a great time with Live Free or Die Hard, so I applied the same logic to 'Indy'. Unfortunately, Indy was a huge disappointment. I left the film feeling insulted and disrespected by the filmmakers.

The story is too convoluted to delve into, but the biggest crime is that it was an expensive example of lazy filmmaking. Nothing about it was inspired, the special effects looked about 25 years old and it just laid flat. There's a great deal of exposition, which I'd imagine will have kids squirming in their seats looking for more action.

Ford was fine, nothing was wrong with Shia LaBoute, and it was nice to see Karen Allen back on the scene. But to see them just go through the motions was painful. It feels like time has just passed Indy by, but it really didn't have to. New blood a' la 'Live Free or Die Hard', could have approached the franchise with fresh eyes and new energy, resulting in a film for a new generation.

Sad to say, while it was incredibly flawed, I had a much better time watching Speed Racer. The movie was a mess, but it was inspired and never boring, the exact opposite of 'Crystal Skull'. Here's hoping Lucas, Ford and Spielberg will see the sour taste they've left in moviegoers mouths and leave bad enough alone.

Bronson's best

For a brief period in the seventies, Charles Bronson was the biggest movie star in the world. A working actor for over two decades, Bronson was featured as a thug or henchmen in a number of films ('Crime Wave', 'House of Wax') in the 50s and 60s. His luck started to change in the early sixties, when he was cast in a trio of all star action flicks that gave him a larger profile than he had previously enjoyed. The films, 'The Magnificent Seven', 'The Great Escape' and 'The Dirty Dozen', are commonly regarded among the best of the epic action films.

Bronson, born Charles Buchinsky, in a coal mining town in Pennsylvania, brought a grounded, earthy, no-nonsense persona to the screen that took American cinema awhile to warm up to. Internationally, he developed a massive fan base, with films like 'Violent City', 'Cold Sweat' and 'Rider on the Rain'. Most famous for the original vigilante film, 'Death Wish', Bronson scored several overlooked films during the seventies that bear mentioning. 'The Mechanic', a story about a James Bondian hitman grooming his protege', Jan Michael Vincent, 'Chato's Land', a western starring Bronson as a nearly mute Indian out for revenge, and 'The Valachi Papers', a fact based mafia wise guy story. But the best of the bunch is screenwriter Walter Hill's directorial debut, 'Hard Times', known outside the US as 'The Streetfighter'.

Set in depression-era New Orleans, Bronson plays a mysterious drifter named Chaney, who winds up in a series of streetfights for cash. James Coburn plays his fast talking manager, Speed, Strother Martin is Poe, the alcohol medical man and Bronson's real life wife Jill Ireland plays the hooker who has a thing for Chaney. The story is simple, but effective. Bronson plays Chaney like a man with a past that's never too far from his future. The fights, and there are a lot of them, are brutal but never gratuitous. At 54 years of age, Bronson convincingly handles all of the action with dispassionate grace.

The cinematography captures the dreary depressed feel of the Crescent City in a way that has additional resonance post Katrina.

There have been many 'streetfighter' movies since 'Hard Times', but nothing hits like the original. Add it to your Netflix list, along with 'The Mechanic' , 'Violent City' and 'Once Upon A Time In America', and you'll have the best of Bronson.

I'm Not Mad at Chuck

When Charlton Heston died last week, there were a number of obits that all focused on three things: his epic films, his physique and his political leanings. One of the best pieces that I read said that there no epics like 'Ben-Hur' or 'The Ten Commandments' anymore because there is no working actor who has the outsized personality of Charlton Heston. He was one of the few actors who seemed more at home in period films than contemporary ones. The late 60s and early 70s signaled the end of the the monumental extravaganzas that Heston carried on his broad shoulders. Among his last successful starring roles were the original 'Planet of the Apes' and 'Omega Man', based on the novel 'I Am Legend', recently revived successfully last year by Will Smith.

As time went on, Heston's politics took over. In his later years, he was the president of National Rifle Association and was a controversial lightning rod for conservative points of view.

I could really care less about all of that. While not the greatest of actors, within his range, Heston performed admirably and it's difficult to think of another actor who could stand in his shoes (or sandals) in his signature roles. There was a period of time when the movies were really big, not CGI big. In the middle of all that bigness, was Charlton Heston. Rest in Peace, Chuck.

Suggested viewing: Ben Hur, The Ten Commandments, Touch of Evil, Will Penny, Major Dundee

The Yakuza: Japanese Film Noir

When you think of martial arts films of the 70s, Bruce Lee and the Shaw Brothers’ Kung Fu classics probably spring to mind. Arguably Lee almost single handedly defined the best of the genre and set a standard that has yet to be matched. The majority of films focusing on martial arts were low budget affairs utilizing simplistic stories and sets, but with garish action and bloody combat, these flicks captured the imagination of moviegoers everywhere.

In the midst of all the chop socky cinema, another type of martial arts fueled film released in 1975, was unfortunately overlooked during its initial run, but deserves a closer look. 'The Yakuza', released by Warner Bros., directed by Sydney Pollack and starring the legendary Robert Mitchum and iconic Japanese superstar Ken Takakura, is an international, cultural cinematic marriage that works splendidly.

‘The Yakuza’ started life controversially as a spec script by Paul Schrader. It was the center of what was then the highest priced bidding war in Hollywood history, ultimately sold for $325,000. Martin Scorsese was originally ontap to direct, but Schrader didn’t want him. Partnering with his brother Leonard, and the project ultimately went to Pollack. Schrader and his brother had a bitter falling out over the final writing credit and never spoke again.

In the 60s, Samurai cinema in Japan, roughly the equivalent of America's westerns, was on the wane. Toei Studios, one of the premier studios in Japan, turned to the Yakuza for inspiration. 'Yakuza' roughly translated means 'gangster' or 'gambler'. A more literal translation is 'good for nothing'. The first yakuza film was 'Bakuto' in 1962, but the genre' really caught fire with the release of 'Abashiri Prison' in 1965, launching the career of charismatic actor Takakura, generally regarded as the Clint Eastwood of Japan.

Takakura presented a brooding, almost mournful presence who was quick to settle his disagreements with the sharp edge of a long sword. Physically impressive and graceful, Takakura would often apologize in advance for the carnage he was about to create. 'Abashiri Prison' was a smash in Japan, spawning 17 sequels. The formula was always the same: a yakuza, recently released from prison arrives in a small town determined to walk the straight and narrow. Ultimately he’s reluctantly drawn into a situation where honor and loyalty are threatened, with the only solution a battle where the yakuza faces down dozens of his enemies in the villain’s lair. Often during the long walk to the final battle, Takakura sings on the soundtrack about his lonely life, while pausing under a street light to fire up a cigarette or to meet a lone friend to help do the dirty deeds.

Honor, duty and humanity are key elements of yakuza films. Commonly known as giri , the debt that can never be paid, honor and duty reign above all, while humanity, especially where Takakura is concerned, is what keeps the films from being empty blood baths. You can tell by the way he walks that Takakura is carrying the weight of everyone he’s ever sliced and diced.

Robert Mitchum personifies all that’s good about film noir. A burly, heavy lidded outsider,
Mitchum starred in the penultimate noir flick, ‘Out of the Past’, which featured the famous line that served as the titles of an excellent bio on him ‘Baby, I Don’t Care’.

One look at Mitchum and you’d think he’s just a slow-witted thug, but in fact he was an accomplished poet, singer and an actor of uncommon depth. From the forties through the early seventies, Mitchum gave memorable performances in countless films in a variety of genres’, starring in films like ‘Night of the Hunter’, ‘El Dorado’, ‘Cape Fear’ which captured his aura of danger and explosive violence perfectly. By the 1970s, Mitchum’s success and hard living had provided his features with a world weary, lived in look that served him well in ‘The Yakuza’.

Mitchum stars as retired detective Harry Kilmer, who’s asked by an old friend, George Tanner (Brian Keith), to rescue his daughter who’s been kidnapped in Japan by the Yakuza. Kilmer has history in Japan, that Tanners believes can help find his child.

Kilmer reluctantly agrees and goes to Japan to rekindle a relationship with the love of his life, Eiko (Kishi Keiko), who he met as a marine during the post-war occupation. In order to get to the bottom of what’s going on, Kilmer calls on Eiko’s brother, former yakuza Tanaka Ken (Takakura). The two men have a complicated relationship, as Ken a former soldier, was furious that his sister was in love with and living with his former military enemy. At the same time, he was grateful to Kilmer for saving the life of Eiko and her young daughter. Kilmer asked Eiko to marry him, but she refused, careful not to do anything else to further estrange her from her brother. With no reason to stay in Japan, Kilmer gifted Eiko with a coffeehouse and returned to America.

For a yakuza, honor and obligation come before almost anything else. As such, when Kilmer asks Ken for information about how to find and retrieve Tanner’s daughter, Ken has no choice but to agree, as is required by giri. The two men reunite in a tense reunion, but Ken’s honor compels him to assist Kilmer in his search. Together they find Tanner’s daughter and her boyfriend. During the attempt to free them, Ken is revealed to have betrayed his former associates, causing a contract to be placed on his head and Kilmer’s. Ken resolves to handle this turn of events on his own, but Kilmer insists on helping him, but Ken refuses.

Eiko connects Kilmer with Ken’s older brother, Goro, who is a senior advisor to the Yakuza , for help with saving Ken’s life. Goro meets with Kilmer, but can’t actively participate in a solution, due to his role with the yakuza. He suggests that the death of the head of that particular family by either Ken or Kilmer would relieve the contract on their lives.

As Kilmer attempts to work through this new information, he’s hit with more unsettling news, his friend Tanner is in cahoots with the yakuza and is the one who put the hit on him and Ken. During an assassination attempt, Eiko’s daughter is killed by a stray bullet. Ken’s pain is clear even through his stoicism, while Kilmer is simply crushed.

Ken and Kilmer go back to Goro for help. Goro suggests killing both the head of the yakuza and Tanner, eliminating the contract and restoring Ken’s reputation. Before
leaving, Goro shares a secret with Kilmer about Eiko and Ken that leaves him guilt ridden and shaken. It turns out that Eiko and Ken were married, not brother and sister and Eiko’s murdered daughter was also Ken’s. Kilmer is shattered, feeling that it’s his fault that Eiko and Ken’s lives have been ruined because of him.

Now the concept of giri exists for both men. In the first phase of the showdown, Kilmer finds and kills his old friend, Tanner, then reunites with Ken for a suicidal invasion in the yakuza’s lair. In a long and bloody battle, the two men, fight their way through what seems like dozens of gangsters until the final confrontation between Ken and the yakuza boss, settled in the traditional yakuza manner.

Following the onslaught, Kilmer offers a formal apology to Ken for the pain and heartache he brought to both Ken and Eiko. As a sign of the sincerity of his apology, Kilmer performs yubitsume, the yakuza tradition of severing one’s little finger as an act of contrition. He also asks Ken to forgive Eiko the sins of the past. The two men were reunited as enemies and part as the closest of friends.

In the midst of the action and violence, there is an overwhelming since of regret and loss that intrudes on almost every scene of the film. Kilmer’s reunion with Eiko is almost unbearably bittersweet. You can see the love that still lives in both of them, but you can almost taste their mutual realization that they can’t go back to what they had years ago. The death of Eiko’s daughter represents more than the loss of innocence, it violently forces both Kilmer and Ken to accept the reality that all of their lives are irretrievably broken.

Sydney Pollack filmed ‘The Yakuza’ after ‘The Way We Were’ and before ‘Three Days of the Condor’. Looking at his broad resume’, one wouldn’t expect to find a film like ‘The Yakuza’, and Pollack never did another film that is so closely tied to a specific genre’. In a way, it’s one of his most non-traditional films and one of his best.


The Yakuza is an exotic film that seamlessly blends the traditions of two genres’ of movies into a compelling look at the way honor, duty and humanity influences the lives and actions of two men who have a lot more in common than either would have ever thought.

3 Bullets, 10 gunmen, you do the math

The photo above is of Michael Jai White from the upcoming short film '3 Bullets', based on an idea that Mike's had percolating for a couple of years. He showed me the animatic short film that he and writer/director Ben Ramsey shot in the annex on Mike's property. Using about 12 action figures, the original 3 Bullets was action packed crazy, complete with explosions, bad dialogue and much ass kicking.

Fast forward a couple of years later and I'm working in a new digital division at Sony, charged with coming up with short form content to be shown online and on mobile phones. I had an idea for a short anthology series called 'Action Theater', that would focus on 5-10 minute action films. The model for the series would be BMW's short series 'The Hire', starring Clive Owen, directed by a number of the world's leading directors, ranging from Ang Lee to Tony Scott to Guy Ritchie. However, our budgets would be a bit smaller and rowdier.

The online space is truly the new frontier. No one knows what will work yet, which makes it difficult to monetize. But it's been my experience that this is the time when it's most exciting. It certainly was the weekend we shot 3 Bullets.

One of the many things that made 3 Bullets special for me was that I had an opportunity to work with 2 very good friends on a project for the first time. Mike White co-directed with actor/director/writer/choreographer Ron Yuan. I've known Ron for about 15 years and Mike for nearly that long. Ron introduced me to Mike when we were going to a comic book convention the day after Mike's starring role as Mike Tyson aired on HBO. I didn't see the film and had Ron not told me, I would have had no idea that Mike was an actor. He just seemed like a regular guy, as he does to this day. As an aside, I was honored to serve as Best Man in his wedding.

I found out quickly that in addition to being a fine actor, Mike is a scary martial artist. Black belts in several disciplines, fast and really strong, Mike is as legitimate an action hero as you'll find working today. Until recently, he's never really had the best showcase to demonstrate what he can do. But it looks like that's all going to change this year. Keep an eye out for 'Blood and Bone', a hard edged street fighter flick with some of the best executed martial arts action on film in years. But the one that I think is going to make people take a hard look at Mike is a film that he conceived and wrote, called 'Black Dynamite'. I don't want to give too much away, but it's one of the most original and entertaining films that you'll see this year. Currently in the editing room, keep an eye out for it.

Ron has been a consistently working actor for years and over the last few years has branched out into directing and action choreography with great success. He's always working on something and once he finishes the movie of the week he's shooting, the voting PSA he's directing and editing 3 Bullets, he'll be going to work on the first of several shorts that he's writing and directing for Action Theater. Best of all, Ron is one of the best friends anyone could ask for. Heart as big as his talent is wide.

3 Bullets is in post production now and when it's finished and available for viewing, I'll be sure to pass the word.

SuperFly: Get Your Hustle On

I was in New York recently, riding around town with my good friend, Vincent Davis, from the Boogie-Down Bronx. Vincent is a successful businessman, having launched the career of Keith Sweat, Silk among others, and founder of his own entertainment company, Vintertainment (yes, he's modest).

Vincent is currently producing his first film as a filmmaker, a penetrating look at all facets of the popular music industry.

As you can imagine, coming from the Bronx, Vince has a lot opinions and predictions that he's only to happy to share, whether you want to hear it or not. In our case, it always makes for lively conversation, whether I'm goading him about his hatred of Vince Carter, or he's berating me for my affection for the revisionist western, 'Tombstone'.

As we rode through Manhattan in his Cadillac pick-up truck, he popped in Curtis Mayfield's classic soundtrack to 'SuperFly', starring Ron O'Neal and directed by the late Gordon Parks Jr. Vince proceeded to tell me that the soundtrack was better than Isaac Hayes' Oscar winning score to 'Shaft' and that musically it was competitive with Rodgers and Hart. I agreed that it was better than most soundtracks that have been released, and competitive with other giants of the field. However, 'Shaft' has always held a soft spot in my musical heart, along with John Barry's score to 'Goldfinger'.

But listening to the music made me think about how fond I always have been of 'SuperFly' the movie. The story of a New York dope pusher looking to get out of the life and start over is a story that's been told before, but never from the point of view of a young, Black, intelligent protagonist. The gritty streets of Harlem, the tricked out car and unbelievable wardrobe, straight out of an Eleganza ad (If you don't know what Eleganza is, you don't know what you missed in the pages of Ebony in the 70s). Mayfield's score was perfect, his lyrics told the inner life of Youngblood Priest, the hustler in question.

Shot for $250,000, Superfly was funded by Warner Bros. but looks and feels like an indie film. Big, bold and fly, 'Superfly' had no precedent but many imitators. None ever really got it.

Topping it all of was the incendiary performance of Cleveland born Ron O'Neal. As Priest, he was handsome, cool, edgy, tough and introspective. It was also the first time that a light skinned Black actor had a chance to be a bad ass onscreen. As a high yellow brother myself, it really had an impact on me.

Ron O'Neal and his family lived around the corner from my parent's corner store in the inner city of Cleveland. I used to see Ron running by on his way to the Karamu theater where he was a mainstay for years. Shakespearean trained, O'Neal brought a level of depth and pathos to his role that few other actors would have been able to manage. His mother was a registered nurse and used to come in the store a few times a week. He had a sister, Kathy who taught school at Kent State. She was so beautiful I could barely look at her. She looked like a statuesque Egyptian queen.

Years later, I went to a Blaxploitation film festival at the Nuart Theater in Santa Monica. As I was heading towards the theater, Ron was coming out. I stopped him and told him who I was and he couldn't believe it, since I was about 12 years old, the last time he saw me. Kind and gracious, we had a nice chat and I was really happy to run into him.

Finally in 2004, Warner Bros. released 'Superfly' on DVD. Ron O'Neal passed away two days later.

To their credit, Warner Bros. did a nice job on the DVD. There are several featurettes, a vintage piece on Ron O'Neal, an audio commentary by a USC media professor and an audio interview with Curtis Mayfield.

There was a horrific sequel directed by Ron O'Neal, co-written by Alex Haley of 'Roots' fame, called 'Superfly TNT' ('taint nothin' to it). It picks up the story of Priest in Africa attempting to help a revolutionary overthrow an evil government. The less said about it the better.

Fortunately, bad sequels don't eliminate classic originals. If you haven't seen it, but you want an example of the real excitement and energy of the rawest flicks of the 70s, 'Superfly' has got you covered.

For my money, there are only five Blaxploitation movies that really stand the test of time and stand up next to films of other genres: Shaft, Coffy, Black Caesar, The Mack and of course, Superfly.

Okay Vince, do your worst.

Jill Scott live: Hot, Honest and Holding It Down

Jill Scott and Raheem deVaughn live at Gibson Amphitheater, Los Angeles February 14th.

Another of my favorite things: a great live concert. Something about the connection between an artist and an audience when it's real and not manufactured has always struck me as its own undefinable magic.

The first concert I ever went to scared me to death, because I had no idea what would to expect. I was 9 years old and I went with my mother and her best friend to the Public Auditorium in Cleveland to see The Dramatics, the Stylistics, Joe Simon and the Staple Singers, who had just reached number one on the charts with 'I'll Take You There'. It was a life changing event. The electricity and excitement, the communal feeling with 10,000 other music lovers was an incredible high. I've been a committed live music fan ever since.

Quick list of 10 best shows I've ever seen:
1. Prince: Dirty Mind tour 1980 Royal Oak Theater Detroit Michigan
2. The Jacksons: Triumph tour 1981 Cincinnati Coliseum
3. David Bowie: Station to Station tour 1976 Cleveland Public Auditorium
4. Bob Marley & The Wailers: Rastaman Vibration tour 1976 Cleveland Music Hall
5. Chic: Risque tour 1980 Cleveland Front Row Theater
6. Jill Scott: Who Is Jill Scott tour 2001 House of Blues Los Angeles
7. Kid Creole and the Coconuts: Lifeboat Party tour 1983 Masonic Temple Detroit
8. Luther Vandross: The Night I Fell In Love tour 1985 Detroir Masonic Temple
9. Daryl Hall & John Oates: Bigger Than Both of Us tour 1977 Toledo Sports Arena
10. Seal: Kiss From a Rose tour: 1991 Wiltern Theater Los Angeles

Just missing the cut is D'Angelo's Voodoo rehearsal show at the House of Blues, running 3 hours, Stevie Wonder's Homecoming show in Detroit, 1982. Stevie was 2 hours late, but played for 4 hours straight. Sting's first solo tour, Bowie's Serious Moonlight tour, James Taylor's One Man Band show and on and on and on.

Last night I went to see Jill Scott for the fifth time. I saw her as mentioned earlier at the House of Blues, in her first official LA concert. She hit the stage a fully formed performer: great personality, song selection was tight, a lively band and a natural effervescence that was infectious. When she opened with 'A Long Walk' and the crowd knew every word, you could see on her face and the faces of her band that they were all surprised and elated. At the chorus, the energy of the song, the artist and crowd just elevated to a high level that was maintained until the show was over.

I saw her a few months later in Miami and her vibe was off a bit. The show was great, but she didn't seem happy, and with Jill Scott live, I think happy is the difference between a solid craftsman-like show and an inspired performance. Her live album that was recorded around that same time also feels less than stellar.

Saw her next in LA back at the House of Blues where she previewed her second studio album before it was released. A bold move for an r&b act, but she pulled it off, only reaching into her catalog for a couple of familiar tunes.

Caught her with Common at Radio City Music Hall in New York, when 'Golden' was her current single. The show was strong and she was in good spirits, buoyed by a crowd who was receptive to anything she wanted to do.

Last night's show was opened by a young male r&b vocalist, Raheem deVaughn, recently nominated for a Grammy for his latest single 'Woman'. A talented performed, deVaughn is a guy with so much energy he doesn't know what to do with it all. He had a guy onstage signing for the hearing impaired, he had a guy painting eclectic art, another guy distractingly filming him onstage with a cel phone and Raheem showered the audience with cue cards when he wasn't busy running back and forth across the stage. He wasn't bad at all, just hectic.

While watching deVaughn, I remember thinking, 'there's no one stepping into Luther Vandross' shoes when it comes to live performing'. From the very beginning, Luther had a knack of understanding what an audience wanted, even if the audience didn't know they wanted it. His shows were elegant, polished, funky and fun. Everything about a Luther Vandross show was buttoned up, but it rarely felt stiff or artificial. I did a quick mental tour of today's r&b and no one's even close to doing it like LV did.

Then came Jill. When her show opened and she arrived like royalty in a purple gown, that big ole' smile and that spectacular voice, it was all good. I've never seen her look better, she definitely had her sexy on.

Since the first time I saw her, Jill's been married and divorced, she's released two studio albums which haven't burned up the charts but have been consistent and a clear sign of an artist who's constantly striving to expand her horizons. Her fan base has remained loyal as evidenced by the nearly sold out venue populated by thousands of women who embrace her female empowerment ideas as their own.

As I watched Jill lead her crackerjack band through new arrangements of her classic tunes and tight versions of the new songs, I realized,in her own way, Jill Scott is carrying Luther's torch, whether she knows it or not. The professionalism, the intimacy with the audience, the emotional investment of each song, Jill's putting it down in a way that Luther would approve of.

Throughout the show she made reference to the challenging road she's travelled over the last few years, but she also made it clear that she's had some good times too. Watching her talk with the audience felt like listening to your cousin Pookie talking around the kitchen table, natural and homey.

Then we get to the voice. Jill Scott has one of the most impressive instruments in all of popular music, with an unmatched ability to emotionally become whatever 'character' is needed in a song.

The only flaw that I can point out was the decision to crank the audio up during 'Golden'. The music was so loud that it distorted everything, bringing an unnecessary element of irritation to an otherwise outstanding performance.

If my list went to a top 20 shows of all time, this one would probably be on it.

In Bruges: A GOOD Colin Ferrell flick?

After many years of going to the movies, I still look forward to the new openings every Friday. Back in the day, I was hardcore action flicks: Bruce Lee, Charles Bronson, Arnold, Stallone, etc. As time goes on, I've been more and more attracted to art house and foreign films. Don't get me wrong, I'm definitely looking forward to Indiana Jones, Iron Man, the new Batman and of course, 007, but the films in between the big boys are the ones that tend to stick with me.

'In Bruges', the new film starring Colin Ferrell, Ralph Fiennes and Brendan Gleeson is a small film set in Bruges, Belgium and it packs its own, quirky, weird but effective punch.

Ferrell and Gleeson are two small time hitmen who are sent to Bruges to cool off after a hit in London goes wrong. Ferrell is a rookie killer who hates Bruges, with a guilty conscience, while Gleeson is the veteran who's tired and is fond of the quaintness of Bruges. Late in the film, Fiennes appears as the boss who has issues to resolve with both men, leading to an unpredictable but satisfying climax.

Colin Ferrell burst on the scene several years ago in Joel Schumacher's underrated and little seen, 'Tigerland'. He immediately showed signs of being an interesting personality with considerable acting skills to match. Farrell quickly became Hollywood's latest bad boy,landing in the tabloids with regularity. He made many more movies, one more forgettable than the last until he bottomed out with Oliver Stone's 'Alexander the Great'. Farrell also became a father and did a brief stint in rehab, coming out if it all a bit more adult and more selective about his work.

Seen last month in Woody Allen's thriller 'Cassandra's Dream', Farrell was convincing as man deep in trouble that he wasn't smart enough to get himself out of. Now with his performance in 'Bruges', Farrell shows a variety of shades as the off kilter killer. At once funny, outrageous and pathetic, Farrell creates a character that you should be repulsed by, but you find yourself hoping he can pull it all off.

Gleeson, one of the best character actors working today, doesn't strike one false note. Content with being Farrell's straight man, he brings enormous pathos to his slump shouldered character.

The other surprise of the film is Fiennes, who jumps at the opportunity to play someone totally opposite of the type of roles that he's known for. Rude, vulgar but embued with his own peculiar sense of honor, Fiennes character is cut from the same cloth as Ben Kingsley's scary killer in the memorable 'Sexy Beast'.

There's also a love story and a subplot with a midget that ultimately pulls the story all together. 'In Bruges' is a perfect example of the ideal way to see a small, indie type flick: not much hype, no big expectations, that results in just a nice night out at the movies.

It's CRIMINAL not to give this a read

For years, comic books have been regarded as for kids, or overgrown kids. Most people would think muscle-bound do-gooders running around in their underwear or funny talking animals. But things have changed quite a bit.

No longer just for kids, there are comics for almost any taste or preference. Interested in westerns, try 'Jonah Hex' or 'The Lone Ranger'. Interested in sci-fi, try 'Y: The Last Man', about a young twentysomething who discovers he's the last man alive in a world run by women. Now, if your taste runs towards film noir, crime and femme fatales, look no further than Ed Brubaker and Sean Phillips's 'Criminal'.

Published under Marvel Comics Icon line, 'Criminal' is an irregularly produced comic book that focuses on the world of crime from an almost blue collar level. Each story arc runs 4-6 issues, complete with a letters page and very well written crime articles written by a variety of well regarded afficianados. Topics have been a look at Robert Altman's 'The Long Goodbye', a feature on 'Blaxploitation' movies and the ultimate film noir 'Out of the Past' among others.

Ed Brubaker is one of the most popular writers in comics these days. Last year, 'Criminal' won the Eisner Award (comics version of the Oscar) for Best New Series. He also writes 'X-Men', 'The Immortal Iron Fist', the noir influenced 'Daredevil' and 'Captain America', where his controversial 'Death of Captain America' was the biggest selling book of the year. Even more impressively, until this month, there's been no Captain America featured in his own magazine and it's still an amazing read.

Sean Phillips, based in the UK is Brubaker's artist of choice, having enjoyed success with the series 'Sleeper' a few years ago. Phillips has a unique style that's scratchy and gritty, but is also a textbook on storytelling. Equally comfortable with oil paint as ink, Phillips is clearly an equal in this partnership.

All of the characters in 'Criminal' exist in the same universe and occasionally cross each other's path, usually in the speakeasy bar, The Undertow, itself a character.

The first story arc, 'Coward' is a about a small time criminal who always knows how to get away before the law shows up. In this tale, he's part of a heist that goes awry and his long winning streak of evading John Law may be about to end.

The second arc, 'Lawless', centers around Tracey Lawless, a military man who breaks out of jail to find out who murdered his less than honorable brother. Along the way he meets a woman, joins a gang and the fireworks begin.

Either of these arcs would make a great film. Brubaker is known for inventive stories, richly flawed characters, realistic dialogue and a real feel for the street. Coming this month are three standalone issues that focus on a different lead character. All of the stories have some connection to each other, but it's not necessary to read all three in order to understand what's going on. The art above is from the second story in the trilogy.

If you're up for a novel length crime read, give one of the trades a try. If you're more inclined to test the waters before you jump all the way in, try the new issue in February. Turn on a soft light and use Charlie Haden's 'Now Is the Hour' as a soundtrack while you read. Doesn't get much better than that..

Shelby Lynne: Soul for Real

One of the easiest ways to get my attention musically is to sing it like you mean it. Now one might say that all artists mean what they sing. That's possible, but there are a few things to consider:

1. Often they aren't singing about anything.
2. Some may think they mean it, but don't really understand what they're saying.
3. Some are just plain faking it.
4. A number of today's artists haven't really had enough life experiences to inform their singing, so they approximate emotions, rather than feel what they're singing.

Then there are those artists whose life burns through every lyric of every song they sing, whether they wrote the song or not. To me, if you've lived life, have a bit of insight and talent, then mean it when you sing it, you've got soul. There are a lot of available arguments over 'ownership' of soul, but I've seen and heard enough to know that race doesn't provide any group ownership of that volatile yet critical ingredient.

I was first turned onto Amy Winehouse 3-4 years ago, when she released a rough debut called 'Frank'. Production so ragged that some songs sounded like demos, it was obvious from the smart, individualistic lyrics and that voice, that Amy Winehouse had a lot on her mind, even if she wasn't sure how to get it out. Now with the success of her second album, 'Back to Black', Winehouse is literally falling apart before our eyes, caught up in a drug induced freefall that I hope she'll survive. If she does, it will undoubtedly result in a searing, painful listening experience that won't be soon forgotten.

A better, healthier (but still pretty wild) example of a life lived that results in memorable music can be found with country/pop music's Shelby Lynne, on her new album 'Just A Little Lovin', a tribute to Dusty Springfield.

I saw Lynne tonight doing a free concert at Amoeba Records. She played most of the songs from the album to a packed store. Small in stature, Blond and sexy in a kind of scary way, Shelby Lynne sung even the happiest songs (I Only Want to Be With You) like she was just left at the altar. It was an interesting experience watching her perform live, because she seemed to fighting herself the entire time. She'd smile over dark lyrics and frown over happy ones. It seemed like she had to remind herself to smile, because her face seemed to settle into a suspicious, almost despondent look more often than not.

Backed by a nice 4 piece band, Lynne soared on songs like 'Anyone Who Had A Heart', 'How Can I Be Sure' and 'Breakfast in Bed'. She discouraged photos, claiming 'I ain't got my face on'. She was an utterly captivating performer, seemingly still working out what the songs meant to her while she sung them.

Shelby Lynne has been around a long time, born in Virginia, raised in Alabama, so she comes by her deep drawl naturally. Tragedy at a young age informed both her singing and world view. When she was a teenager, Lynne watched her father shoot her mother dead and then kill himself. So the shell that she wears is understandably second nature by now. It made her tough, determined and able to raise hell when the mood strikes her. She knocked around the country scene for years before winning the Best New Artist Grammy for the album 'I Am Shelby Lynne'. She's since segued over to more of a country pop sound with varying degrees of commercial success, but always musically interesting.

'Just A Little Lovin' is a collection of 9 Springfield songs and one written by Lynne that fits the album like a glove. Interestingly, Springfield tended to sing with a sultry, sexy baritone that was warm and very inviting. Lynne, by contrast, infuses the same songs with longing, hurt and disappointment. With spare musical accompaniment, Lynne elegantly and soulfully sets a table, but doesn't expect anyone to show up.

I think Rob Hoerburger of the New York Times sums up Shelby Lynne best: 'Even when she ends up in the bedroom, she takes a rougher road'.

U2 3D: Go Now!

"Irish people are essentially Latin people who don't know how to dance"- Bono

The quote above was part of the Irish superstar's explanation for choosing South America as the locale to shoot U2's first 3D concert.

Over the years I've always had an appreciation for U2, more as a monster band with singles that I enjoy. In the last few years I've become really impressed with the commitment lead singer Bono has made as international activist, which has caused me to check his band out a bit closer. I've never seen them in concert, but I understand it's almost like going to church, if you believe.

I don't know about church, but after seeing U2 3D at the Imax, I definitely believe. Filmed in Mexico City, Buenos Aires, and Rio de Janeiro during their Vertigo tour, U2 3D is the best example of 3D that I've ever seen, by far. The movie was virtually like having the best seat in the house at a concert, but being able to roam around without stepping in anyone's beer.

The film is 85 minutes, featuring 14 hymns, um, songs on an incredible stage in front of what looks like 200,000 screaming South Americans. There seems to be dozens of cameras all over the place, but the one that really pops is placed ground level in the middle of the audience.

One of the things that has made U2 one of the world's biggest bands with a devoted following that's second to none, is that they connect with their audience via the music and their actions. The perfect illustration of that connection is the placement of the stage in relation to the audience. Attached to a traditional stage are a couple of ramps that flow out into the middle of the crowd. The band spent half of the show immersed in the middle of that sea of humanity.

The musicianship is top notch, Bono's in good voice and full of the drama that one would come to expect, while guitarist The Edge, anchors the show in cool. Adam Clayton on bass and Larry Mullins jr. on drums keep the rhythm section on point.

Now if you're not a fan of U2, I don't know if this movie will bring you around, but it's worth your time to give it a shot, if for no other reason than to check out the 3D effect. The only criticism I have isn't the movie or the band's fault. That falls on the theater, the dreaded multiplex at Universal City.

It wasn't loud enough!

RAMBO... Really?

I can't imagine that there will be many times when you'll see 'subtle' near Sylvester Stallone's name. He's always been an outsized personality, who did things in a big, often heavy handed way. To be fair, occassionally he leads with a very big heart. If you consider 2006's "Rocky Balboa", Stallone did the almost unimaginable: He made you care once again about the Italian Stallion, in a small character driven drama that contained so much heart and compassion, that it really didn't matter if Rocky fought in the movie or not. The scene when Rocky just breaks down in front of Paulie (Bert Young) over the death of his wife, is probably the best acting I've ever seen Stallone do.

When I found out that 'Rambo' was a reality, I thought that all of the good will that Stallone had just generated would go right out the window. However, I went to see it this evening at the Arclight and sat in a full house with the most vocal Arclight audience I've ever been privy to.

The story concentrates on the 60 year civil war that's been going on in Burma and the missionaries who are captured and tortured trying to help native villagers. The reluctant Rambo leads a team of mercenaries on a mission of recovery, revenge and wholesale slaughter.

This is one of the goriest films I've seen in awhile. Thanks to the magic of CGI, Stallone was able to indulge every violent idea that he could think of in 'Rambo'. I wouldn't begin to try to guess the number of mutilated, machine-gunned, machete'd, blown up, wild boar eaten, arrow through the head, throat ripped out bodies populate this film. When people are shot they literally disintegrate.

Stallone does a service by bringing the ongoing horrors of Burma to the minds of moviegoers. I guess for some film fans, just seeing Rambo back in action is cause for celebration. It's a tough but watchable picture that ultimately doesn't have the depth that Stallone was looking for, but as writer/director/producer, for better or worse, he'll always be able to say 'I did it my way'.

Handicapping the Oscars

Nominations were announced today for the 80th annual Academy Awards. Here's a list of the nominees for the major categories. Names in bold are my picks, along with possible upsets. We're a month away and things can change, so check back before placing your bets.

Best Motion Picture
Atonement
Juno
Michael Clayton
No Country For Old Men In spite of the controversial ending, the Coen Brothers have perfectly adapted Cormac McCarthy's best selling novel into an American classic. In spite of the strong field, the Coen's time has come. John Ford would be proud.
There Will Be Blood

Best Performance by an Actor in a Leading Role
George Clooney (Michael Clayton) While I'm sure this is Daniel Day Lewis' year, I have to give dark horse honors to George Clooney. Hollywood loves him, 'Michael Clayton' is one of the best reviewed films of the year, and Clooney delivered an Oscar caliber performance.
Daniel Day Lewis (There Will Be Blood) While he only makes movies every eclipse, Daniel Day Lewis continues to captivate us with the power and nuance of his performances. In 'There Will Be Blood' he deftly illustrates the totality with which power can corrupt, leaving a barren husk of a man that you can't take your eyes away from.
Johnny Depp (Sweeney Todd: The Demon of Fleet Street)
Tommy Lee Jones (In the Valley of Elah)
Viggo Mortensen (Eastern Promises)

Best Performance by an Actress in a Leading Role
Cate Blanchett (Elizabeth: The Golden Age)
Julie Christie (Away From Her) Christie, an Oscar winner over 40 years ago (Darling) has swept almost every award since the season started. No reason to stop now.
Marion Cotillard (La Mome) Cotillard has won her share of awards this year portraying French superstar Edith Piaf. However, the film's lack of box office and foreign subject matter will result in her watching Julie Christie take the stage.
Laura Linney (The Savages)
Ellen Page (Juno)

Best Performance by an Actor in a Supporting Role
Casey Affleck (The Assassination of Jesse James by the Coward Robert Ford)
Javier Bardem (No Country for Old Men) If any category has a flat out lock, it's this one. Bardem has one everything and created the most terrifying villain since Hannibal Lecter.
Phillip Seymour Hoffman (Charlie Wilson's War)
Hal Holbrook (Into the Wild)
Tom Wilkinson (Michael Clayton)

Best Performance by an Actress in a Supporting Role
Cate Blanchett (I'm Not There) Blanchett will probably cancel herself out with two nods in two categories, but this is the one she should have won for
Ruby Dee (American Gangster)
Saoirse Ronan (Atonement)
Amy Ryan (Gone Baby Gone) See my comments for supporting actor, but drop the second sentence.
Tilda Swinton (Michael Clayton)

Best Achievement in Directing
Paul Thomas Anderson (There Will Be Blood)
Ethan Coen, Joel Coen (No Country for Old Men) A flawess execution of a cinematic vision
Tony Gilroy (Michael Clayton)
Jason Reitman (Juno)
Julian Schnabel (Le Scaphandre et le papillon)

Best Writing, Screenplay written directly for the Screen
Diablo Cody (Juno) Currently everybody's favorite, the former stripper turned screenwriter should take home the gold
Nancy Oliver (Lars and the Real Girl)
Tony Gilroy (Michael Cooper)
Brad Bird, Jan Pinkava, Jim Capobianco (Ratatouille)
Tamara Jenkins (The Savages)

Best Writing, Screenplay Based on Material Previously Produced or Published
Christopher Hampton (Atonement) This is the kind of adaptation that Hollywood tends to respond to, but No Country could well pull an upset here
Sarah Polley (Away From Her)
Ronald Harwood (Le Scaphandre et le papillon)
Joel Coen, Ethan Coen (No Country for Old Men)
Paul Thomas Anderson (There Will Be Blood)

There are many other categories, cinematography, editing, make up, costume design etc. I'll get to those and others in a future post.

CLOVERFIELD: Godzilla for the New Millenium

Back in 1998, I remember going to the Cinerama Dome in Hollywood, when the surrounding parking lot had not yet been turned into Los Angeles' best movie complex, The Arclight, to see the summer's most anticipated movie, 'Godzilla'. Directed and produced by the creators of 'Independence Day', it seemed like a sure fire hit.

I remember sitting in the theater and the crowd was fired up, watching trailers for films like 'The Mask of Zorro' and other upcoming action adventure movies. Then the lights went down for the main feature. The crowd roared when it saw the word 'Godzilla' on the screen. It was downhill from there. Not only did the creature look wrong, it was running through Manhattan like a scared salamander who lost its way out of the pond. It wasn't scary, the cgi work was disappointing and Matthew Broderick was the hero?

Flash forward 10 years later, and the new film 'Cloverfield' has figured out how to do 'Monster takes Manhattan' right. From the feverish mind of creator JJ Abrams (Alias, Lost, Mission Impossible III) and director Matt Reeves, comes a tale for the You Tube generation.

A group of 20 somethings are at a going away party in lower Manhattan for a friend moving to Japan, when they're rocked by what they think is an earthquake. It turns out to be a giant, pissed off monster that is destroying Manhattan. One of the friends is trapped uptown in her apartment that has been ravaged by the beast, so a small squadron of friends set off to rescue her.

One of the friends was assigned to record 'good luck' testamonials at the party on camera, so he takes the camera with him to chronicle their adventure. This lends the film the shaky camera style that we've all become accustomed to over the last view years, giving it a bit more feel of authenticity. However, the usher at the theater said that some people have watched the film and have suffered from motion sickness, and offered a refund within the first 30 minutes of the feature if anyone came down with that illness while watching.

'Cloverfield' is a fast paced, short (84 minutes including 10 minutes of credits) thriller that clearly succeeds where Godzilla didn't, on a much smaller budget, 25 million versus 80 million. The monster isn't scared, it's upset, and clearly committed to making Manhattan America's largest parking lot. The cast is a group of unknowns who do the best they can with the sketchily written roles, but they do a nice job of involving you in their personal story before the monster attacks.

Special Effects are impressive, it takes awhile before you get a good look at the monster, which is a good thing, because the quick glances as it darts around buildings makes the anticipation that much more intense. While I'd be hard pressed to call 'Cloverfield' scary, it is a well done, somewhat innovative thriller.

It's said that movies tend to reflect the tenor of the times. For example, in the Reagan era, we had the agressive symbolism of Stallone as 'Rambo' and Arnold in 'Commando'. Now in these uncertain, anxious times, due in no small part to the events of 9/11, we have the unsettling experience of yet another foreign invader to our shores, only this time it's one we can see, even if we can't stop it.

Indestructible Songs: 'My Funny Valentine'

This is the first of a semi regular feature on the blog, that takes a look at songs that are so well constructed, that they can stand up to virtually any interpretation (although Rod Stewart's take on any of the Great American Songbooks strains this concept!). It seems that songwriting is given short shrift these days ("You Remind Me of My Jeep", anyone?), I thought it would be interesting to look at songs that are sometimes romantic, sexy or sad, but always durable. I have a short list and would love to get your suggestions to flesh this feature out.

I'm going to start with one of Rodgers and Hart's most famous recordings, 'My Funny Valentine'. Originally recorded in 1936 for the musical 'Babes in Arms', the song is on over 1300 albums and has been recorded by over 600 artists, ranging from Frank Sinatra to a sample on Kanye West's album 'Late Registration'. It also appears in at least 16 movies, including Sinatra's "Pal Joey", "Waiting to Exhale" and "The Talented Mr. Ripley".

To give you an example of how 'Indestructible' this song is, I first heard it sung by an actress not known for her vocal ability, Michelle Pfeiffer. Over the closing credits of one of the best films about the life of musicians that I've ever seen, 'The Fabulous Baker Boys', I heard this haunting, melancholy piano by Dave Grusin accompanied by a sad soft vocal that forced me to sit through the credits, which I rarely do. Not a great singer, Ms. Pfeiffer is respectable and her performance feels heartfelt, complimented by a sympathetic string session.

Shortly thereafter, I saw vocalist-percussionist Vinx do a live version with a single drum as his accompanyment. The drum gave the song a feel of urgency and his vocal was pleading, almost in desperation to be heard. I realized that this was a special song if it could stand up to two radically different interpretations and each version be equally effective.

I'm going to give you a brief list of my favorite versions. Most are available for download on iTunes.

Chet Baker: 1952. One of the best known versions, Baker plays trumpet and sings. You can hear his broken heart.
Ella Fitzgerald: 1956. Ella includes the opening stanza that Baker and most other vocalists leave off. The arrangement and presentation sounds like it was flown in on gossamer wings.
Miles Davis: 1965. The 'Prince of Darkness' recorded a live 15 minute version.
Etta James: 1995. This is the version Kanye West sampled.
Anita Baker: 1994. If ever a song was made for Anita, this is it.
James Ingram: 1999. I like this one because it's just crazy! Incredibly speedy tempo, with hi-tech production, you have to love the way Ingram starts soft and just attacks the song. And the song is still standing when he's finished.
Johnny Mathis: 1956. This is my favorite version. The arrangement is simple, a tasty and guitar and Mathis singing so delicately it feels like it all might break at any time.

Here's a tip. For the last couple of years I've made a cd compilation of 16 versions of the song and given it away during Valentine's Day. It's always well received.

The Spirit: Alive and Kicking!

In the world of comic books, Will Eisner is commonly regarded as one of the few pioneers of the industry. Credited with creating one of the first graphic novels, effectively utilizing film noir techniques in 8 page comic stories, a unique sense of design and a host of other firsts, Eisner is best known for the classic Sunday comic strip 'The Spirit'. Originally a story about a police detective who dons a mask to fight crime in fictional Central City, it evolved into comics' first blue collar super hero.

The Spirit had no super powers, just a blue suit, blue hat, gloves and mask. He had a square jaw, a goofy sense of humor and a blind spot when it came to the ladies. As time went on, The Spirit evolved into a compelling look at the human condition: love, hate, betrayal, hope, laughs and faith. In many instances, supporting characters carried the story, with The Spirit only appearing in a panel or two.

The Spirit is currently being made into a big budget movie, starring Samuel L. Jackson, Scarlett Johannsen, Eva Mendes and Gabriel Macht as the masked crime-fighter. Interestingly, renowned comic book creator Frank Miller (300, Sin City, The Dark Knight Returns) is at the helm, following his co-directing debut with Robert Rodriguez on 'Sin City'. Miller is known for hard boiled, take no prisoner storytelling, which is at the opposite end of The Spirit's world. Fingers crossed that the hopefulness, humanity and humor that made the original comic strip so memorable isn't lost in Miller's version, due out in early 2009.

Over the years, several publishers have tried to re-introduce The Spirit in new adventures, all landing with a big thud, until Darwyn Cooke came along.

A Canadian neighbor, Darwyn cut his teeth in advertising and animation before he committed his talents to the comic book industry. His impact was felt almost immediately. 'Batman: Ego', an examination of the inner life and conflict of the Dark Knight, was written and drawn by Cooke. His illustration style is at once retro and futuristic. There are clear signs of his animation background in his work, as well as an appreciation of the spirit (no pun intended), design and feel of America in the 50s and 60s.

Darwyn did a number of other notable projects, like the graphic crime novel, 'Catwoman: Selina's Big Score', but the damn truly burst when he created the maxi series, 'The New Frontier', an look at the creation of what would become the Justice League of America, set in the late 50s-early 60s. A mammoth 400+ page read, Darwyn's writing and illustrations are among the strongest in the history of the medium. 'New Frontier' was a huge success, earning Cooke endless accolades and awards, culminating next month with the DVD release of an animated version of the maxi series.

All of this led to Darwyn's next project, reviving The Spirit, yet again. Darwyn took a different tack from his predecessors: he placed The Spirit firmly in the present day and wasn't scared to do updates where necessary. For example, in the original series, Ebony White, The Spirit's cab driver, was visually a stereotypical Black caricature, with big eyes and lips, and problems speaking the King's english. Although the character was respected by other characters in the strip and did have a sense of dignity, it was a less than desirable presentation. In Cooke's update, Ebony is a young, good looking savvy Black kid who may be the smartest charater in the book.

For twelve issues, Darwyn, along with his talented inker J.Bone, editor Ben Abernathy, letterer Jared K. Fletcher and colorist Dave Stewart, produced the best comic book of 2007. Unfortunately, Darwyn's run on the book ends with the current issue, #12. Due to personnel changes beyond his control, Darwyn opted to leave with his team intact, on a high note. Ironically, this last issue may be the best of all.

Based on Will Eisner's original story, 'Sand' concerns the true love of The Spirit's life, Sand Sareef. It's a sad story about love lost, that taps into the best of Darwyn's strengths: character, mood, motivation and beautiful artwork. If you've ever considered giving a comic book a try, The Spirit #12 is a great place to start. However, it should be made clear that this is a creator operating at a very high level and most books don't come close to it.

R&B: The Heart's Still Beating

As I mentioned in a previous post, I tend to spend my listening time in the car with my iPod instead of the radio or CDs. Largely because I rarely hear anything on the radio that requires repeated listening, whether it's on local Los Angeles radio stations or XM Satellite radio.

I had a career in radio for twelve years as a disc jockey and a program director. My last stop was launching L.A.'s first R&B station that covered the entire county,from Los Angeles down to San Diego, 92.3 The Beat. That was 1990. Luther Vandross and Anita Baker were certified superstars, Bobby Brown, Brian McKnight and Mary J. Blige were coming into their own, while Jimmy Jam & Terry Lewis were on a seesaw with LA and Babyface as the dominant producers of the day. Hip Hop was on the cusp of exploding on the West Coast via NWA, which spawned the greater success of Ice Cube and Dr. Dre, which begat Snoop Dogg and many more.

At that time, most successful R&B acts were on major record labels, while hip hop was scattered on indie labels across the country, getting airplay on mix shows, in clubs and occasionally prime time radio. Years later, the script is flipped. Hip Hop acts dominate radio and traditional R&B acts are on independent labels, getting airplay on Quiet Storm programs and internet radio shows, occasionally getting prime time radio exposure, but ultimately looking for new avenues to have their music sampled.

When I talk with folk who came up on R&B, the generally feeling is that there's no real R&B for adults anymore. I understand the frustration, because radio for that audience is still the main vehicle to hear new music. The reality is that life intrudes. While your love of music probably never dies, responsibilities step in and the free time you once had to stay up on your favorite artists is replaced by working, raising a family and figuring out what to do with the small amount of time that you have to yourself. Then add how regimented and restricted radio has become with deregulation resulting in cookie cutter radio stations that have no regional identity or personality. Finally, mix in national program directors, consultants,tighter playlists and research almost totally replacing instinct and taste, and you're left with a very small selection of music to choose from, via traditional means.

In the interest of feeling your pain, I'd like to offer for your consideration that the heart of R&B is still beating, by suggesting a few albums to check from artists who are keeping the music alive, making it fresh and keeping it vital.

1. Eric Roberson: (ericrobersonmusic.com). Roberson, or 'Erro' as he's known to his fans, is of the new breed of R&B artists who has set up his career from heavy touring (check him out at the Temple Bar) and an active internet presence. Eric has written for Jill Scott, Carl Thomas, Musiq Soulchild and others. He's a great lyricist with catchy melodies, but his live show is one of the most engaging you'll ever see for a guy who hasn't had a major radio hit. He's released several albums, all available on his website, but for an introduction, I'd recommend 'The Collection' from iTunes, which gives you a solid career retrospective of this groundbreaking artist. If asked, he'll describe his vibe as 'Honest Music'. The man speaks the truth.

2. Raheem deVaughn (myspace.com/devaughnenterprises): Just dropped his second album this week, 'Love Behind the Melody'. His first album, 'The Love Experience', was a solid debut that was exciting in it's willingness to experiment with spare tracks, multi-layered harmonies and a deeply expressive falsetto. The latest album continues that direction with tighter tracks and lyrics that are reveal a more vulnerable and exposed singer trying to live through love. The first single, 'Woman', sets the right tone for the entire set.

3. Luther Vandross: 'Love Luther'. I mentioned this collection several posts ago, but it's worth bringing up again. Epic/Legacy has compiled an excellent 4 disc retrospective that gives this superstar and his fans their due. All the hits, plus jingles, demos and unreleased live versions of classic Vandross gold.

4. Ledisi (myspace.com/ledisi): 'Lost and Found'. This Bay Area powerhouse has been around for years, destroying audience after audience with original compositions that belong on the radio. She released a couple of great indie cds a few years ago that fetch a pretty penny on Ebay, but she deserved a better stage to be heard from. Verve obviously agreed, signed her and released 'Lost and Found' last year. This is what the core of R&B is: heartfelt lyrics delivered by a passionate singer. Ledisi is at home with ballads and jazz, but don't think she can't get her groove on, because she'll hurt your feelings. If you get a chance to see her in concert, you'll wonder why it took so long for someone to find her.

5. Raul Midon (raulmidon.com) : 'Love Somebody'. Not totally R&B, let's call it 'kinda alternative' R&B. Midon, a blind, singer-songwriter, guitarist from New Mexico was the last artist that legendary producer Arif Mardin produced before he passed away. Also on Blue Note, Midon will remind you of Stevie Wonder, Donnie Hathaway and Jose Feliciano. A blistering acoustic guitarist, Midon is particularly strong with melody. His lyrics sometimes tend to be simplistic, but part of that comes from his natural optimism. He's released two albums, but so far he hasn't been able to transfer the fire of his live show to cd yet, but I'm sure it's coming. He's another one who's not to be believed in concert. He has a limited edition live cd floating around, which I'd recommend as the best introduction. But if you can't find it, either of the two studio albums are worth getting into.

Live From Daryl's House

If you've known me for a long time, you'll know that one of my favorite recording artists is Daryl Hall, of Hall & Oates fame. So get your horrific hair and shoulder pads jokes out of the way, as well as the awful music videos. I realize it's hard to think of H&O without thinking of all of the excess and bad taste that reigned in the 80s. However, once you get past that, Hall & Oates have delivered a large volume of quality music from the 70s to arguably, right now.

Daryl Hall possesses one of the most soulful voices in pop music, one that has gained more texture and character as he gets older. While he can't hit the high notes as easily as he did in the 80s on songs like 'One on One', Hall's range and interpretative skills make listening a more personal and lasting experience.

Late last year, Hall embarked on an interesting new journey, recording and posting a live concert recorded in his home with friends, every month. 'Live from Daryl's House' features almost an hour of in home jamming with Hall, long time bass player T-Bone Wolk ( who played on Kurtis Blow's "The Breaks") and various members of his touring band. As a H&O fan, it's a great time for me, hearing different arrangements of some of my favorite songs. If you're not especially down with Hall & Oates, it's still worth sampling a new way of checking out music on the web. The format is structured, but still feels loose and Hall is obviously having a great time just playing with his friends.

Personally, I relish the opportunity to hear real musicians play for the sake of the love of music, with no props or lip synching. The web address is: . The latest edition was posted today and features the original reggae arrangement of 'Maneater'. It's an even cooler version.

LET'S GET LOST- Again

Today I saw a reissue of a 1988 documentary by noted photographer Bruce Weber about what turned out to be the last six months of the life of legendary jazz trumpeter Chet Baker. Baker first came to fame in the fifties as one of the cornerstone artists of what came to be known as West Coast 'cool' jazz.

In addition to being a talented horn blower, Baker also had an unusually affecting singing voice. Melancholy in tone, almost off-key, but not quite, Baker's voice was a perfect compliment to his subdued horn playing.

Also adding to his legend, Baker had the good fortune to be iconically photographed by then young cameraman, William Claxton. Struck by Baker's looks and what he saw as charisma, Claxton shot portraits of Claxton that are among the most revered in jazz photography.

Unfortunately, Baker fell prey to hard drugs and was never able to shake them. Weber's film, shot in crisp black and white, travels with Baker in California and Europe, spending time with him in the studio, onstage, with friends, lovers and family members, almost all of who bear varying degrees of hurt and pain from being involved with Baker.

Six months after the film was finished, Baker fell from a window in a hotel in Amsterdam. Officially ruled a suicide, there's still some question about the possibility of foul play.

This is one of the saddest films you'll ever see, but I couldn't take my eyes off it. It's playing in limited release in Los Angeles and New York, but should be on DVD in the next few months. Incredibly moving, but it's not the film to watch if you're feeling a bit down.