BLACK CROWS FLY IN THE FACE OF CONVENTION

The Black Crowes has always been a band that marched — or should that be flew? — to the beat of its own drummer. Much has changed since brothers Chris and Rich Robinson formed the group — originally called Mr. Crowe’s Garden — in Atlanta, Ga. in 1984. Musical trends as well as bandmembers have come and gone, but the band’s independent spirit, and commitment to the creative vision of the Robinson brothers remains steadfast.

The band released Warpaint, its first studio album in seven years, in March 2008.

“Warpaint is a declaration of our soulful independence,” lead singer Chris Robinson said in a press release for the album. “The thing about the last three years has been, ‘How do we continue to be independent? How do we begin to exercise control and freedom over our own trip?’ That’s what the title is all about.”

“Every record was a great experience to get us to where we are today,” added guitarist Rich Robinson. “This is what we love to do, and we want to do it the best we can. That’s what’s in this [album].”

The band, which also includes original drummer Steve Gorman, bassist Sven Pipien, guitarist Luther Dickinson, and keyboardist Adam MacDougall — is performing a series of sold out shows at Levon Helms Barn in Woodstock, New York through March 7. The group will begin a European tour in the spring.

The long layoff between albums apparently didn’t hurt the band’s popularity. Warpaint entered the Billboard charts at No. 5, making it the group’s best debut since 1992’s The Southern Harmony and Musical Companion.

Since making its major-label debut in 1990, the Black Crowes has enjoyed both critical and commercial success, selling over 18 million albums. The band’s sound, typified by Warpaint’s lead single, “Goodbye Daughters of the Revolution,” mixes Southern-flavored, guitar-based rock, R&B, and a touch of ’60s psychedelia into a groove-heavy mix. The group's best known hits include “Jealous Again,” “Hard To Handle,” “She Talks To Angels” and “Remedy.”

The band has enjoyed its current success strictly on its own terms. Despite the long absence from the public eye, the group granted only a few press interviews to promote Warpaint, which was released on the band’s own label, Silver Arrow Records. The closed-door policy toward the press might be the result of an exchange with Maxim that started when the magazine published a lukewarm review of Warpaint in its March 2008 issue. The problem wasn’t so much the tone of the review, but the fact that the reviewer had only heard one track from the album before writing it. Maxim later admitted its blunder, and issued an apology to its readers (but not to the band).

A rocky relationship with the press is nothing new for the Crowes. In a 1995 interview for the Amorica album (infamous for its bikini bottom cover photo), Rich Robinson told me, “The things that are written about us always have to do with something other than music. People write about what we wear, what we say, what drugs we do, what drugs we don’t do, our album cover, anything other than the music.”

Music has always been the central focus for the Robinsons. They handle nearly all of the songwriting for the band, with Rich writing most of the music and Chris writing lyrics. Chris told me in a 1991 interview that having a songwriting partner that happens to be your brother has its advantages. “Musically there are a lot of unspoken things between us,” he said. “We know when something feels right and when something doesn’t. I’ve tried to write songs with other people and it’s just never felt right.”

And while the band never shunned commercial success, Chris Robinson maintains that even at the height of the band’s popularity, the Black Crowes flew its own course. “Even in our most commercially successful period,” he said, “there was nothing like us on any format. By the time grunge happened, Southern Harmony and Amorica didn’t fit into any part of popular music. We looked different, we sounded different, and we set up our culture a little different.”

Both Robinson brothers insist that their music, not commercial success, has always been their driving force.

“You could take it all away tomorrow and I’ll go back to Atlanta and start again,” Chris said. “You don’t kick the habit just like that. It’s your passion. This is the one vice I’m never going to get rid of."






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CHRIS BOTTI - THE ROCK STAR OF JAZZ

By jazz musician standards, Chris Botti is a huge rock star.

The trumpet-playing Oregon native earns kudos from jazz critics for his virtuosity and his rich, distinctive tones, but it’s the familiarity of Botti’s romantic melodies and the accessibility of his arrangements that appeals to most fans.

Botti is gearing up for three weeks of radio station appearances starting February 28, 2009, followed by a spring/summer tour in conjunction with the airing of his PBS special and forthcoming album, Chris Botti in Boston.

Botti’s session work with artists like Paul Simon, Sting, Joni Mitchell and Aretha Franklin broadened his familiarity and appeal to pop audiences, while his cinematic good looks and Oprah’s stamp of approval helped shore up a large contingent of female fans.
But Botti is not simply the new millennium’s version of Kenny G.

“I think there’s a huge appetite for jazz-influenced music which is melodic, accessible and reins it in, but doesn’t dumb it down at all,” the 46-year-old Botti said in an interview for the Associated Press last year.

Take Botti’s 2007 release Italia, for example. The songs on Italia are drawn from sources ranging from classical opera, to standards, to the soundtracks of film composer Ennio Morricone. Guest on the album include Paula Cole, Andrea Bocelli, and, through the death-defying powers of studio magic, Dean Martin.

“I think in your mind, you want to have an approach that threads the sound together, even if it’s a very loose thread,” Botti said in an October 2008 telephone interview. “I mean, Italia is a very loose thread, but you just want to have something that you can hang your thoughts on.”

At the time of the interview, Botti was mixing tracks that were recorded last Sept. 18 and 19 during his performances with the Boston Pops Orchestra. Chris Botti in Boston is scheduled to be released on CD and DVD March 31, 2009.

Featuring guest appearances by John Mayer, Josh Groban, Aerosmith’s Steven Tyler, American Idol runner-up Katharine McPhee, classical cellist Yo-Yo Ma, and Sting, the shows with the Boston Pops were typical of the eclectic star-studded projects for which Botti has become known.

Botti’s touring band is a mix of old and new musicians. In addition to long-time bandmembers Billy Kilson (drums), Billy Childs (piano), and Mark Whitfield (guitar), violinist Lucia Micarelli, known for her work with Josh Groban and the Trans-Siberian Orchestra, recently joined the group.

“She comes in and does some of the more classical things that the audience really likes,” Botti says. “She’s a rock star to say the least. So it’s been really fun to have another voice that plays that way. We’re slowly but surely adding her to more songs.”

Botti says that growing up he admired jazz soloists who had crossed over into the rock world like David Sanborn, Steve Gadd, Michael Brecker and Richard Tee.

“All these guys were original sounding on their instrument,” he says, “but they also played with people like Paul Simon, James Taylor, and the Rolling Stones. They were musical and interesting to me, and they had something to say. I thought that [a similar career path] would be a great avenue for me.”

Through his work as a session musician, Botti not only had the opportunity to play with a number of music legends, he also gained valuable studio production experience.

“One of the reasons why I know my way around the studio is because of the training I received sitting in a room watching producers like Arif Mardin make a record,” Botti says. “I got the opportunity to work with every great producer of the last 20 or 30 years.”

Botti released his first solo album, First Wish, in 1995 at the age of 33. At the time, trumpeter Wynton Marsalis had burst upon the scene with an album of standards, but Botti knew he had to set his own course.

“That atmospheric quality is what I really loved about jazz,” he says. “On my earlier CDs I tried to marry that feel to the textures and melodies you might hear on a record by Peter Gabriel or Bryan Ferry.”

In the years since, Botti has stayed extremely busy. Not including Chris Botti in Boston, he’s released a total of 10 albums, as well as a live DVD. He’s produced and guest starred on numerous projects. He was the leader of the house band on "The Caroline Rhea Show" from 2002 to 2003, and he hosted a weekly radio show called "Chill with Chris Botti." He even did a brief acting stint on the daytime drama, "One Life To Live."

Botti already has tentative plans for his next studio album, which he expects to begin working on in June.

“What it’s going to be, I don’t know,” he says. “One of the great things about being successful is the ability to widen your palate and work with orchestras and great arrangers that are very flattering to the trumpet. That ability to make those kind of more classy records as far as the ingredients used — the players, the studios and the arrangers — is something that I don’t want to lose. The key is figuring out what’s the theme, what’s the vibe, what’s the main thread to the album — and that I don’t know yet.”

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All Roads Lead Back to Sting

Ask Chris Botti to name the person who has had the biggest influence on his life besides his parents, and he won’t hesitate to answer. “Sting,” he says. “He’s like a brother to me.” Sting hired Botti as the featured soloist on his 1999-2001 "Brand New Day Tour." The last performance of the tour occurred on Sept. 11, 2001. The date is memorable to Botti for more than the obvious reason.

After the show, Sting did Botti the biggest favor of his career. He fired him.

“Actually, he asked me to leave the band, and to become the opening act on his tour in the same breath,” Botti says. Shortly thereafter, a week of shows were booked at New York’s Beacon Theatre.

“I was opening for Sting,” Botti says. “At one of the shows there was some guy in the audience who listened to the show, then went out, bought my album, and sent it to Oprah.”

Oprah liked what she heard, and invited Botti to be a featured guest on her show. The appearance helped jump-start Botti’s career.

“Sting’s the guy that’s responsible for breaking the sound of my trumpet to the world,” says Botti. “All my roads lead back to Sting’s involvement in my career.”

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Chris Botti 2009 Tour Dates (as of February 2009):

March 2009
31 Mexico City, MEXICO Teatro la Ciudad

April 2009
04 Atlantic City, NJ Tropicana Hotel & Casino
08 Harrisburg, PA Whitaker Center TICKETS
11 Easton, PA State Theater TICKETS
16 Daytona Beach, FL Peabody Auditorium
18 TV APPEARANCE: CBS Saturday Morning Show
23 Sarasota, FL Van Wezel Performing Arts Hall TICKETS
24 Birmingham, AL BJCC Concert Hall w/ Alabama Symphony Orchestra TICKETS
25 West Palm Beach, FL Kravis Center TICKETS
26 Miami, FL Fillmore
28 Clearwater, FL Ruth Eckerd Hall TICKETS
29 Durham, NC Carolina Theatre of Durham
30 Charlotte, NC Blumenthal Performing Arts Center

May 2009
02 Columbus, OH Ohio Theatre
03 Ventura, CA Ventura Music Festival TICKETS
07 Tarrytown, NY Tarrytown Music Hall TICKETS
08 Great Barrington, MA The Mahaiwe Theatre
10 Chicago, IL Chicago Theatre TICKETS
13 Wilmington, DE Grand Opera House TICKETS
14 Englewood, NJ Bergen Performing Arts Center TICKETS
15 Red Bank, NJ Count Basie Theatre TICKETS
16 Utica, NY Stanley Theater TICKETS
21 Meridian, MS MSU Riley Center TICKETS
22 Atlanta, GA Symphony Hall
23 Atlanta, GA Symphony Hall
30 Cerritos, CA Cerritos Center for the Arts

June 2009
03 Boston, MA Symphony Hall w/ Boston Pops
04 New York, NY Beacon Theatre
06 Monterey, CA Monterey Conference Center-Sierra Ballroom

July 2009
02 Montreal, CANADA Montreal Jazz Festival
09 Los Angeles, CA The Greek Theatre
10 Sparks, NV John Ascuaga's Nugget-Celebrity Showroom
11 San Francisco, CA Davies Symphony Hall
12 San Francisco, CA Davies Symphony Hall







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STEPPIN' OUT WITH JOE JACKSON

Joe Jackson’s name might not frequent the Top-40 or MTV like it did when hits like “Breaking Us In Two,” “Steppin’ Out,” “Is She Really Going Out With Him?” and “You Can’t Get What You Want (Till You Know What You Want)” made him a star more than 20 years ago, but these days the British singer-songwriter isn’t overly concerned with commercial success.

“I have no expectations at all about how my music will be received,” Jackson told the Toronto Star in March 2008. Truth be told, Jackson has never seemed concerned with the commercial aspects of the music business, preferring to follow his creative muse. Slapped with the new wave/punk label when his debut album, Look Sharp! was released in 1979, he disregarded expectations and explored swing (Jumpin’ Jive), jazz (Night and Day), and classical music genres (Symphony No. 1) on subsequent albums.

Jackson recently completed a U.S. tour in support of his latest album, Rain.

For both the album and tour, Jackson reunited with two-thirds of his original band — bassist Graham Maby and drummer Dave Houghton — who worked with Jackson on his first three albums - Look Sharp!, I’m the Man, and Beat Crazy.

“I’m having a lot of fun this tour, especially playing with two old friends,” Jackson said in a telephone interview in the midst of the tour, “and they’re playing better than ever.”

For the Rain album and tour, Jackson wanted to explore the piano-bass-drums trio format. “It’s something that I’ve wanted to do for a few years,” Jackson says. “I think it’s interesting how wide-ranging you can be using just the minimum of resources — just the trio.”

The material on Rain touches on nearly every musical style Jackson has explored in the past, with the bulk of the songs falling close to the pop/jazz flavor of Night and Day, his most popular album.

Jackson says he doesn’t mind playing his oldest hits for his fans. “You can get a bit fed up with playing the same songs over and over again,” he says, “but I think it’s important to give the audience some familiar landmarks, so to speak. We do quite a long show, so we do a lot of new stuff as well as old.”

In the first four years after being signed to A&M Records, Jackson released five albums and an EP. He kept up that prolific pace throughout the 1980s, but has made a conscious decision to slow down in recent years.

“I’m much less of a workaholic now than I was early on,” he says. “I think in the early part of my career, I made too many records and put out too much stuff that was just not as good as it could have been. I think now I’m a lot more particular. I think I’ve come a long way as a lyricist.”

Over the years, Jackson has branched out creatively. In 2000 he published a well-received memoir entitled A Cure for Gravity that he calls “one of the best things I’ve done.” A few years later, he became a bit of a social activist, campaigning against the public indoor smoking ban now in effect in many American and British cities. His most recent endeavor is "Stoker," a play he is co-writing about author Bram Stoker and his process of creating "Dracula."









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REVEREND LOVE

Al Green was born to preach. Even before he became an ordained Baptist minister, Green was spreading his gospel of love to music fans around the world with signature hits like “I’m Still In Love With You,” “Let’s Stay Together,” and “Sha-La-La (Make Me Happy).” His recent critically acclaimed Top-10 album, Lay It Down, introduced the soul legend to a new generation of fans.

Proving he can still hang with anyone, Green was a last minute replacement for Chris Brown at the 2009 Grammy Awards telecast, and wowed the crowd performing a duet version of his signature hit “Let’s Stay Together” with Justin Timberlake.

In a telephone interview earlier this year, it quickly became clear that you can take Al Green out of the church, but you can’t take the church out of Al Green. Like a preacher swept up in the middle of a fiery sermon, Green has a tendency to break into song in the middle of an answer, and often refers to himself in the third person. It made for an unusual, but entertaining interview.

Green also has a playful sense of humor. When asked if he follows any special regiment to keep his voice in such good shape, he answers, “Yeah I drink a whole bottle of lemonade!”

Green should be in a jovial mood these days. The 62-year-old soul legend is riding a wave of positive publicity in the wake of the May 2008 release of Lay It Down, which incredibly became the first album by the nine-time Grammy winner to debut in the Top-10 of Billboard’s Album Chart.

“I had never had that happen,” Green said. “I really was shocked, and everybody in the band was shocked. Even the album I’m Still in Love With You didn’t debut in the Top-10, and it sold a lot of records.”

From 1971 to 1976, Green did indeed sell a lot of records. He had 13 Top-40 hits, including “Here I Am (Come and Take Me),” “Call Me (Come Back Home),” and “You Ought to Be With Me,” as well as eight albums that reached the Top-30 on the charts.

Green abandoned secular music in the late-’70s, became an ordained minister, and took up residence at the Full Gospel Tabernacle Church, just outside Memphis, Tennessee. For nearly 25 years, Green recorded only gospel and Christmas music.

In 2003, Green signed with Blue Note Records and agreed to record secular music again. Lay It Down is Green’s third album in the past six years. On the previous two, I Can’t Stop (2003) and Everything’s OK (2005), Green reunited with Willie Mitchell, the producer behind Green’s hit albums. In an attempt to recapture, as well as update Green’s classic sound, the albums were recorded in the same studio used in the ‘70s, employing many of the same musicians from 30 years ago.

While both albums were well received critically, I Can’t Stop sold less than 300,000 copies, and Everything’s OK sold under 125,000. Hoping to generate more commercial appeal, Blue Note Records asked Ahmir “?uestlove” Thompson of the Philadelphia-based hip-hop group the Roots, and his associate James Poyser, to produce what would become Lay It Down.

Once Green agreed to the proposal, Thompson and Poyser began an intensive study of Green’s recordings. Thompson says his goal was to make the unofficial follow-up to The Belle Album, Green's last major critical success from the ’70s.

"Thing is, you really have to do your homework. I studied all of Al's music," Thompson told the Philadelphia Daily News. "I studied the engineering of every album. That's basically what we were trying to approximate and also get a mark of our own."

Contemporary artists Anthony Hamilton, Corinne Bailey Rae, and John Legend were brought in for guest appearances.

In the end, Lay It Down manages to sound like classic Al Green without sounding like it’s trying to recreate the past. But while Thompson says that was always the intention, Green maintains that initially the team envisioned a more modern sound.

“They wanted to play the music as hip-hop as they could,” Green says. “I told them to go right ahead, because I knew they wasn’t going to be able to do it. Because once you start wrapping the music around Al…. You gonna try to play it a different way, but when you get done with it, it’s gonna come out [sounding] like 1973, ’74, ’75, ’76, ’77….

“Eventually they just started playing it like we were singing it,” Green added. “That’s all you can do, really. With a song like ‘Take Your Time,’ or ‘Stay With Me (By The Sea),’ ain’t no sense in playing no Jimi Hendrix on it, or Miles Davis on it. You’ve got to play (singing) ‘Stay with me by the sea’ the way it goes, you know?

Green is in full preacher mode now.

“My name is Otis Redding,” he says, to illustrate the other cloth from which he’s cut. “And my name is David Ruffin… and Sam Cooke… and Jackie Wilson… and Wilson Pickett.”

Lay It Down was in production for over two years, but most of that time was spent working out the logistics of the participants. Green says the songs were written quickly, soon after entering the studio.

“What you’re getting is the cream, baby,” he says. “This is not something we had in a box for 4,000 years, this is something we just wrote this past February. Yeah, ‘Lay It Down’ I just laid it down.”

Green has been inducted into the Rock and Roll Hall of Fame, the Songwriters Hall of Fame, the Gospel Music Hall of Fame, and is the recipient of the Grammy Lifetime Achievement Award. On June 24, Green added to his long list of achievements when he was honored with a Lifetime Achievement Award at the BET Awards in Los Angeles. Three days later, he fulfilled a lifelong dream when he headlined Carnegie Hall for the first time.

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From The Pulpit:

Rev. Al Green is not shy about speaking his mind. Here’s a little fire and brimstone on a variety of topics.

Were you familiar with the Roots, Anthony Hamilton, Corinne Bailey Rae, or John Legend before working with them on "Lay It Down"?

“No, no, no, I was not. I saw the Roots on TV once in Trinidad. That was the only time I’d ever seen the Roots. I’d only heard the song that Corinne sang on the Oprah Winfrey Show. Something about ‘put your records on.’ I heard one song by John legend, but I can’t really think of what it was. I had heard a song by Anthony Hamilton, because I have two of his CDs, but I have never played one yet.

“I’m kind of reeling, man. I get a lot of music. I mean, record companies send me boxes of music, and I can’t play everything and stay sane at the same time. It’s just a lot of stuff.”

Do most visitors come to the Full Gospel Tabernacle Church to worship, or to see Al Green?

“I know people come for a thousand reasons to church. They mostly come to hear me sing ‘For The Good Times.’ I know that. I don’t care what reason they came for. Our thing is while they are there we get to tell them about the Lord and Savior Jesus Christ, and do a little bit of ‘Amazing Grace’ and let them know that that grace is for them.

“So I don’t care what reason you came. And then after that I send him back to Elvis’s place.”


On touring and performing at various House of Blues venues:

“The House of Blues is one of my favorite places to play, because we can get down in the House of Blues. There’s like 14 or 15 of us up there [on stage]. We’ve been together like six or seven years. So we know each other. Every time I twitch my foot they know what I’m doing.

“We can really have a good time. And when you come upon our hotel floor, you don’t hear no noise, no parties, no women, no hollering and tearing up the room and trashing the hotel…. We don’t have that kind of junk. You get a $5,000 fine if you do that junk in my band. I’ll fine your ass.”

On rap music:

"All our songs are about love – not machine guns, killing, war, drugs, gangs and sex. You gotta be able to invest 12 years in prison to be a rapper, or at least you been shot five or six times or committed some crime to be a rapper. ‘I was shot nine times right in the toe – now I can rap because I know what I’m talking about. I’ve been behind bars…’

“I just think that’s a poor illustration for our young children, 11, 12, and 13 years old. I mean, if you listen to that, or look at that stuff long enough in the videos with them big dog chains around their necks, and all them diamonds shining out of their mouth – you would think that’s how real life is.

“And I have to tell those children that that ain’t the way life is, baby. You ain’t going to be surrounded by a bunch of girls in two-piece bikinis dancin’ and wigglin’ all the time. You have to get up off your ass and go to work. Make sure you put that in your article. That’s coming from the Reverend.”

NICOLE ATKINS WALKS A FINE LINE BETWEEN MODERN AND RETRO

Singer-songwriter Nicole Atkins has been riding a wave of positive press and publicity since the October 2007 release of her full-length major label debut album, Neptune City, which she named after the northern Jersey shore town in which she grew up. The album received positive reviews in publications like Entertainment Weekly, USA Today, and Spin, and Atkins was named one of the “Top 10 Artists to Watch” by Rolling Stone.

Atkins built national recognition performing with her band, The Sea on the late night TV circuit, including “The Late Show with David Letterman,” “Late Night with Conan O'Brien” and “The Late Late Show with Craig Ferguson.” They were also featured (playing themselves) in a television commercial for American Express as part of its “Are You A Cardmember?” campaign.

Atkins music sets introspective lyrics to Brill Building-style pop fused with lush, atmospheric layers. The 30-year-old Atkins calls her cinematic songs “pop-noir.”

“It took me a long time to find my sound,” she says. “When I first started writing songs, they were kind of country-ish. I was into that [sound], but I was also really into ’68 garage rock and psychedelic music. I could never figure out how to put together all the sounds I wanted into one. After many years of trial and error, it finally happened.”

Atkins sings in a traditional, melodic, retro style that may have been at least partly inspired by all the classic lounge singers she witnessed accompanying her parents on weekend trips to Atlantic City. Her sense of drama was kindled by her participation in school plays.

“I did a lot of musical theater growing up,” she says, “but I was always more drawn to singers like Roy Orbison, Scott Walker, or the Righteous Brothers – people that sang in a really dramatic way. Even the Beach Boys on Pet Sounds – things that just really have a soundscape.

“It’s a shame people don’t really sing with melody anymore,” Atkins adds. “All of my songs are really emotional. They’re stories. There might not be that many words to them, but it’s just the way that they’re sung, or the violin or piano lines underneath – that tell the whole story.”

Atkins and the Sea have been touring for over two years.

“We’ve been touring so much the shows have gotten pretty dialed in,” Atkins says. “It’s easy and fun for us now, whereas before we were just finding our footing.”

Atkins says the years she spent playing to audiences of 15 people taught her how to work a crowd. Even when playing to large crowds, she says she tries to create an intimate, interactive atmosphere.

“That’s what’s most fun about what I do – just being on stage and getting to live through all the experiences of the songs and interacting with the crowd, telling stories and jokes,” she says. “It should almost be like me and the people in the audience are at a party together and I’m the loudmouth in the room. I almost get more upset if one of my jokes bombs than if I flub a note on one of the songs.”

In concert, the band has no trouble recreating the lush sound of Neptune City, but Atkins says the energy level is turned up a few notches.

“Our live sound is pretty true to form, but it’s a lot more raw and rockin’,” she says.

After nearly two years on the road, Atkins says she’s looking forward to returning to the studio to record her next album.

“I’m excited to see what these 30 songs are going to turn into on a 14-song album,” she says. “There are some that are similar to Neptune City. Then there are some that are almost like dirty blues songs, in a Black Keys or Jon Spencer Blues Explosion-type way. That’s why I’m glad there are so many different styles and elements in my sound. We’re kind of free to take it where ever we want.”

The new album won’t be out until sometime later this year, but fans check out Nicole Atkins Digs Other People’s Songs, a four-song EP of cover tunes Atkins and The Sea recorded between legs of the current tour. It features songs by the Doors (“Crystal Ship”), the Mamas and the Papas (“ Dream A Little Dream”), the Church (“Under the Milky Way”), and Nada Surf (“Inside of Love”) and is available for download at Amazon.com.

“Yeah, I listen to a lot of different music,” Adkins says about the eclectic nature of the collection. And judging from the positive buzz surrounding her, other people dig Nicole Atkins’ songs, too.

“I worked really hard for seven years as a solo artist, and then one summer I made a demo that turned into these songs and got a band together,” Atkins says. “Everything just fell into place. It happened quick, but it was seven years in the making. Finally I had a cosmic bone thrown to me.”

Linda Eder - Back to the Beach

There was a time when singer and Broadway star Linda Eder could stroll down Atlantic City's Boardwalk on a crowded summer evening and go unnoticed. In fact, it happened on a fairly regular basis in the mid 1980s. Back then, Eder was a recent transplant from Minneapolis, building a reputation and fan base performing her show four times a night, six nights a week at Harrah's.

In the years since, Eder's celebrity profile has risen considerably. In 1987, she tried out for the television talent show Star Search, and won a spot on the first episode of that show's 1988 season. She proved unbeatable for an unprecedented 12-week run. The Star Search appearances led to a record contract and her big break; she was cast as Lucy in a new musical version of Jekyll & Hyde.

The show debuted in 1990 at the Alley Theatre in Houston, Texas. In April 1997, Jekyll & Hyde made its way to Broadway. That year, Eder was nominated and won a Theater World Award for her performance as Lucy. Since then, she's appeared on stage in Beauty and the Beast, The Civil War and Camille Claudel, and has released eight solo albums, including her most recent, 2005's By Myself: The Songs of Judy Garland.

Eder has performed in Atlantic City numerous times since her lounge act days. While she considers herself a mid-level celebrity at best, her days of going unnoticed in a crowd have passed. In February 2006, she returned to perform two shows with singer and pianist Michael Feinstein at the Atlantic City Hilton.

"It's a new show — an idea that we've wanted to do for a while," Eder said at the time in an interview for Atlantic City Weekly. "We put it together last year and did five shows to try it out. It was so much fun, and the response was fantastic, so we've got a lot more booked."

Eder and Feinstein are on stage together for the entire show, with the exception of two short solo segments where each performs two or three songs apiece. The duo is accompanied by Eder's seven-piece touring band, under the direction of John Oddo.

Touted as an evening of "masterpieces from the American songbook," the show includes songs by legends like Irving Berlin and Duke Ellington, as well as more contemporary artists.

"It's everything from Steve and Eydie, to Sonny and Cher, to Joni Mitchell, to more current material," Eder says. "My definition of a standard is anything that is written well enough so that it stays around as the years go on. New standards are being created all the time."
Eder says she enjoys the variety afforded by successful careers as both a stage performer and recording artist. At this point in her life, however, family considerations have kept her from committing to another Broadway show.

"I want to do it again, but I'm not in a big rush," she says. "It's a wonderful experience and great fun, but it's also the most work. I know the hours that it involves. I have a six-and-a-half year-old son who's now in school, and I know that if I were in a show on Broadway, I really wouldn't see him that much. So I'm very tempered by that.

"There is a piece in the works being especially written for me that I really like, so we'll see…. We're progressing with that, but it would be at least two years before it would be ready to come to New York."