2006-11 Vital Source Mag – November 2006
Caribbean cowboy
By Catherine McGarry Miller + photos by Kevin C. Groen At 19, Montana native Michael Morton was a mosh pit punk who also briefly studied art in Missoula. “I’d be hard-pressed to tell you what I was trying to say,” he admits of his found-object constructions. “I was young and trying to make statements, but was probably naïve, misinformed and shallow.” Growing up in Montana, Morton experienced home on the range and its wide open spaces. He spent much of his youth exploring the woods near his Helena home, rooting around deserted mines and abandoned shacks. An avid fan of grunge and industrial music, Morton in 1993 joined the “Montana Mafia,” slang for the mass migration of young Montanans to Seattle for the music scene and city life. Having worked in delis as a teenager, he cooked to finance his clubbing. “I learned to work fast – whatever you do, do it fast. I had a string of deli jobs and never diversified my portfolio.” His first job in Seattle at a high volume kosher deli taught the unruly youngster a lot about interacting with the public and conforming to strict kosher dietary laws. Later Chef Walter Pisano of Tulio Ristorante took a very green Morton, with an admittedly bad attitude, and mentored him into a reluctant professional. “This was the real deal,” Morton smiles, remembering. “I had just enough experience to get in the door. I’d worked in such undisciplined kitchens. This was my first real professional kitchen where I learned technique, presentations and vocabulary: about quality in food.” Under Pisano’s tutelage, Morton’s long locks gave way to a military coif and he calmed down enough to learn his craft. Risotto was a real trial. “It’s really good when done correctly, but there’s no way to fake it or hide. The trick to risotto is cooking it very slowly and to never walk away from it.” The lessons Pisano imbued stay with Morton. “He said, ‘You should taste everything but you should taste nothing,’ which means that you should be able to taste all the ingredients that contribute to a dish, but nothing should overwhelm it. He also talked about the ‘face of food.’ Looking at a plate you should be able to see all the ingredients. Like in a sausage, each ingredient should be in every bite and in proper proportion.” Friend John Dye lured Morton to Milwaukee in 2001 to work at Hi Hat as a cook. “Brunch had the volume and intensity of serving people who were hung over and hadn’t had their morning coffee yet. You spend six hours in a 120-degree box and you’re either going to kill each other or have a really good time.” Hi Hat Executive Chef Matt Post introduced him to the nuts and bolts of the business: costing, inventory management and processing employee paperwork. This summer, DJ and Cassie Brooks, who’d worked with Morton at the Hi Hat, hired him on as chef of their own new restaurant, Good […]
Nov 1st, 2006 by Cate Miller
Dance
By CATCH AS CATCH CAN Janet Lilly hosts an evening of work by her, Sean Curran, Heidi Latsky and Peter Sparling with the Danceworks Performing Company from Nov. 10 – 12. 414-277-8480 or www.danceworks1661.org. BLESSED OFFERINGS Ko-Thi Dance performs its annual harvest dance concert Nov. 10 – 11 at Alverno College’s Pitman Theatre. 414-382-6044 or www.ko-thi.org. IMPROSCAPING Susan Carter presents improvised choreography designed to create a visual landscape. A one-woman dance featuring live jazz guitar Nov. 12 and 19 at the Walker’s Point Center for the Arts. 414-871-1523 or www.carterproductions.com. INCA SON The rich, colorful dance and music of the native cultures of the Andes comes to Wisconsin Lutheran College on Nov. 14. 414-443-8802 or www.wlc.edu/arts. IN FROM THE CHILL: YOUR MOTHER DANCES Danceworks hosts an evening of new works featuring Elizabeth Johnson, David Parker, Sara Hook and more. Nov. 17 – 19 at the Danceworks Studio Theatre. 414-277-8480 or www.danceworks1661.org. VARIOUS STATES OF UNDRESS Wildspace Dance performs new pieces by Artistic Director Debra Loewen and Katie Sopoci. Nov. 29 – Dec. 2 at the Stiemke Theater. 414-271-0712 or www.wildspacedance.org.
Nov 1st, 2006 by Vital Archives
Just the way it is
By Jon Gilbertson On a late October afternoon, Hank Williams III is touring the East Coast and feeling poorly – not because of the fondness for John Barleycorn that supposedly afflicts all in his line, but because of the more banal bugs that don’t cure easily over a long stint on the road. He isn’t whining about a head cold, though. “I chose the hard road as opposed to the easy road a long time ago,” he mutters across the wires. “I got that drive and that’s what keeps me going.” Like much of what Hank III has said since he stepped directly into his legacy more than a decade ago, those lines require only a little editing to make fine country song refrains. But he’s spent a great deal of time mixing up that legacy with the punk rock and heavy metal he’s loved ever since he was a kid. “People do realize that I’m into many things besides country,” he says. “People see a realness. That’s what I hear a lot.” But not every fan shows equal appreciation for each of his facets. “There’s a certain breed out there that loves Slayer and David Allan Coe,” Williams says. “It might come from the same place, but some of the fans just don’t get it. There’s a bunch of snobs and you’ll never be cool because you’re not punk or country enough for ‘em. Each little group has its thing.” If Hank Williams III has a thing, then that thing would probably be lifelong defiance. Born Shelton Hank Williams in Nashville in 1972, he didn’t really get to know his father, Hank “Bocephus” Williams Jr., because he wasn’t around. While the two have crossed paths more often in recent years, it should be noted that during our entire interview, he referred to his father only once; as “Hank Junior” at that. Hank III didn’t really know his musical lineage, either, and was content to smoke weed and rock hard until a crushing and sudden need to make regular child-support payments sent him to the tourist town of Branson, Missouri to earn his keep imitating his grandfather. (The resemblance, vocally and physically, is eerie, and has been commented on so much elsewhere that it need not be dwelled on here.) Now, rather than imitating his grandfather, he seems to be cutting a parallel path, at least in terms of having a difficult relationship with the music industry. In 1996, Hank III signed with Curb Records and has been head-butting with the label and its head, Mike Curb, ever since. “I’ve been fighting in court to get off that label forever,” Williams says. “This goes back to a family name, back to spite. This is people holding us back. There are all these rich-ass motherfuckers who don’t want to let me go, even though they don’t understand me and will not market me.” It didn’t help that the label’s first use of Hank III was to put his voice together with […]
Nov 1st, 2006 by Vital Archives
November 2006
By IN:SITE Insight I had no idea IN:SITE would be on the cover of VITAL! This is fantastic! Thank you so very much (Covered, October 06). I love the photo on the cover. It is exactly what IN:SITE is about: SITE-SPECIFIC temporary public art. I was so glad that the focus was on the artists, the collaboration with business groups and the reactions of people on the street. Amy worked hard and it shows. And the whole texture of the piece with Amy mentioning the SOUND of “Super Subconscious” speaks to her background as a poet. Bravo! Pegi Taylor Lauds for Leiter I thought the article [on Saul Leiter] was great (Interview, October 06). It made me laugh out loud a few times. You really depicted his personality very well. He’s a unique individual, so I know this is not easy. Margit Erb Howard Greenberg Gallery New York To VITAL: Great article on Saul! You really capture his endearing demeanor and communicate the significance and originality of his work. I’ve forwarded it on to him, and I’m sure he’ll be pleased. All the best, Lisa Hostetler Assistant Curator of Photographs Milwaukee Art Museum To VITAL: I went to the most amazing event last evening thanks to you and your magazine. I was looking through VITAL when my husband said he wanted to see a movie or a play. I was not in the mood for either and was just finishing up reading your article, “Shoot from the hip,” when I saw the ad for “Milwaukee Street, Milwaukee” at the Milwaukee Art Museum. We went and – Wow! It was the most amazing exhibition I have seen in a really long time. Not only were Saul Leiter’s photos so pure and wonderful to look at, but so simple and so relatable. In addition to Saul’s exhibit, Cedar Block’s exhibit of local photo artists was really inspiring. I have to say that John Miller’s photo montage in the rain was done in the same feeling as Saul Leiter’s [work]. It’s great to see local artists being exhibited in the very public domain of the MAM. Thanks so much for a really great date! Toni Milwaukee Open Season on Butgereit? Thanks for taking the time to review Jeremy Enigk’s new record (Music Reviews, October 06). It’s interesting, though, that Ms.Butgereit [the reviewer] felt Enigk’s use of melancholia derailed the album. It makes me wonder if she ever heard 1996’s Return of the Frog Queen, Enigk’s first solo record (which she failed to mention) and what she thought of that. I, for one, feel like both of these albums are fantastic, despite the tone and pace, and aren’t “exhausting to listen to and difficult to enjoy,” as she puts it. By her estimation then, Nick Drake’s Pink Moon, Lou Reed’s Berlin, Sebadoh’s The Freed Weed and virtually every Smiths album no doubt “becomes overwhelmingly grating as the songs tick by,” simply because they dabble in the depressing. What other artists should we recommend steering […]
Nov 1st, 2006 by Vital Archives
Matthew Schroeder
By Blaine Schultz + Photo by Kate Engeriser Matthew Schroeder, guitarist and department chair at the Wisconsin Conservatory of Music, has traversed the entire spectrum of music, from guttural electric with local rock groups Pet Engine and The Barbeez to Signal, his recently released debut solo album of original acoustic finger-style compositions. On November 18, Schroeder will launch the Midwest Guitar Summit with longtime friends and collaborators Dan Schwartz and Ben Woolman at the WCM. Find tickets at www.matthewschroederonline.com. 1. With instrumental music, do you have certain images that come to mind for songs when you play them? Imagery is central. In composing it helps you stay the course, and in performing it takes you where you need to go emotionally to best play the piece. If you play well, you create art in the mind of the listener, and much like a good book, it’s a bit different for everyone. Many times someone will know just what the tune is about, and what’s best is when they add surprise details to the picture. 2. What makes for a good instrumental guitar tune? There are no particular elements that need to be present. I simply need to enjoy hearing and reacting to it. I do like tunes that incorporate something slightly off the beaten path in note choice or technique. A tune that succeeds in the imagery category is John Fahey’s “The Approaching of the Disco Void.” Recorded live in Tasmania, it will scare you! In the groove/melody area, Leo Kottke’s “Orange Room” is pure fun. 3. What drew you to this music? Coming from a rock background and looking for more, finger-style guitar was a means of expression outside of the traditional classical or jazz guitar idiom. Along the way I fell in love with the style. Many people keep searching for what they should be doing with their life. I feel I’ve found it. 4. What is the Midwest Guitar Summit? The Midwest Guitar Summit is a finger-style guitar concert featuring myself, Dan Schwartz and Ben Woolman. We all met in the early 90s while attending the cooperative guitar program at the University of Wisconsin-Milwaukee/Wisconsin Conservatory of Music and received BFAs in American finger-style guitar performance. We enjoy each other’s music and friendship, and have stayed close over the years, so doing some shows together is a natural result. A typical MGS performance will consist of each player doing a short solo set, some duets, and culminate with all three guitarists onstage together, displaying their versatility by including other instruments such as lap steel, bass and electric guitar. 5. How do you define success as a musician? I currently teach and perform. When my students are learning, and I am moving people with music, that is success for me as a musician. VS
Nov 1st, 2006 by Vital Archives
Chickenshack 101
By Jonathan P. Ziegler WMSE has always had a commitment to local music of all types. However, other than blues programming, the station never really had a long-term show that was 100 percent dedicated to roots music. The Chickenshack was started in the Summer of 1997 for the dual purpose of spotlighting historic/forgotten roots artists and providing a platform for local and up and coming acts to be heard. Over nine years later, the mission is still the same and the show is even broader in spectrum. The strength of the show is in its diversity. You can hear honky-tonk, western swing, rockabilly, bluegrass, old-timey music, blues, rhythm and blues, rock & roll, singer songwriter even a little folk and some soul from time to time. On any given Friday you can hear music ranging from field recordings of people who never even played on a proper stage to artists like The Cramps. To me it all fits under the roots/Americana umbrella. The show has been and will always be a key venue for promotion of local artists and for the club owners willing to stick their necks out and book roots music. I try to make the show as accessible for these people as possible. Whenever a new roots band starts playing out in the area I get an email or a phone call from them and I am thrilled to be able to help them with airplay and live in-studio appearances and interviews. Being a musician, I fully grasp the importance and responsibility of having a forum like this. Throughout the years the support that I have received from artists and fans of the music has been overwhelming. When I started the show, I would have never dreamed that it would have the loyal listenership that it does. I feel like a proud papa when I see the Chickenshack shirts and stickers around town. It also serves as a reminder that the listeners take this kind of music very personally – who hasn’t choked up when they hear a Johnny Cash song in the last couple of years? And the people expect a high level of quality in the music that I play on the show. I’m always looking for the best songs and best performances by the artists I put on the air and will continue to do so. I only wish that I had a longer show so I could play more music. Jonny Z.’s Chickenshack can be heard Fridays from 9 am to noon on 91.7 FM, WMSE.
Nov 1st, 2006 by Vital Archives
