Ting Ting
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Something I Said- The Funk Fusion Of Yohannes Tona, Jazz-Tinged Ballads Of Alicia Wiley
Something I Said
Yohannes Tona, Alicia Wiley
Dwight Hobbes Insight News Sitting in at Sol Testimony's Soul Sounds Open Mic & Jam Session over the summer proved to be profoundly informative for this arts columnist. It introduced me to bad-to-bone bassist Yohannes Tona and reacquainted me with sterling pianist-songsmith-vocalist Alicia Wiley. Sol Testimony's Soul Sounds Open Mic & Jam Session is gone. But, Tona and Wiley have exquisite albums available for your listening pleasure. Yohannes Tona's debut Sand from the desert, is funk fusion sweetened to taste. You've got ten originals, including Tona composing with Mint Condition's Stokley and Twin Cities stage star Aimee K. Bryant, plus John Coltrane's "Naima" and Miles Davis' "So What". Also, there's Stokley, F. Darnell Davis of Darnell Davis and The Remnant, Bryant, spoken wordsmith Sha Cage and noted keyboardist Nachito Herrera. In short, it's a packed house of monster talent. "I feel blessed", says Tona, "that I have a good relationship with all these great artists who collaborated on the album for nothing but love. If all artists were like that, we would hear many more success stories." He had more folk in mind to invite to do the album, but " didn't get to call out because of time. Friends like Wendell Henry, Sol Testimony and Alicia Wiley." At the core of Sand from the desert Yohannes Tona Band. That's Tona, Peter Vircks(sax), Brian Ziemniak (keys) and Brian Kendrick (drums). They did a release event at The Dakota Nov. 1 and it was a solid success. The crowd, including R&B siren Erica West, had a ball. Davis sat in on keys, Bryant sang, John Raymond played trumpet – in general, one of those nights you talk about for weeks. Next up for Tona is some serious woodshedding. "My wish is to develop the kind of discipline that the old classical and jazz musicians had to dig dip into music and come up with some thing new. God help me with that because it is much harder these days where there is too many things pulling you away from that path." Alicia Wiley's third outing, Changes, is a tight set recorded live at The Phipps Theater. With Tona, Peter Vircks, Andres Prado on guitar and Kevin Washington alternating Brandon Commodore on drums. Tona says of doing this album with her, "We are very good friends, so its always fun working with her. I believe she's got what the industry is looking for. I hope she will be heard." From his lips to God's ears. Wiley, at only 25, has fascinating command of her craft. And a wry, wizened air that intrigues. The more music lovers who find out about an artist this strong the better. Her edgy, jazz-tinged chops, Wiley acknowledges, come from a rich and varied source. "I am a music junkie. I am constantly listening and I'm sure that has helped shape my style into what it is today. To me, a great song is a great song. I love all styles." She is, of course, as glad to have had Tona on board for Changes as he was to be there. "I consider myself very lucky to have had Yohannes on my latest CD. He can throw down. He has amazing musical instincts, creativity, chops, and lays down the most soulful ideas you will ever hear. There isn't a thing missing from his playing." Which is why Tona will be on her next album (in whirlwind fashion, with the new release less than a month old, Wiley is working at Pachyderm Studio on the next one). She made Changes a live recording because, "this time around I wanted to capture the energy and spontaneity of a live show. It is almost impossible to match the same energy level in a studio setting." You'll agree she got what she was going for.
About the Author
Dwight Hobbes has written for ESSENCE, Reader's Digest, Washington Post, Minneapolis Star Tribune, St. Paul Pioneer Press, City Pages, Mpls/St. Paul, MN Law & Politics, Pulse of the Twin Cities, Twin Cities Daily Planet, Women & Word, San Diego Union-Tribune and Minnesota Spokesman-Recorder (where he contributes the commentary column Something I Said). He's spoken his mind over National Public Radio, Minnesota Public Radio, Blog Talk Radio's UNOBSTRUCTED and KMOJ in Minneapolis and St. Paul. Was regularly featured as guest commentator on NewsNight Minnesota (KTCA-Minneapolis/St. Paul) and Spectator (Minneapolis Television Network). His monthly column "Hobbes In The House" in MN Spokesman Recorder speaks to domestic abuse and rape. His plays are Shelter - produced at Mixed Blood Theatre by Pangea World Theater, Dues - produced by Mixed Blood Theatre, University of Southern Illinois in Point of Revue, selected for Bedlam Theatre's 10-Minute Play Festival and published by Playscripts, Inc. You Can't Always Sometimes Never Tell - produced by Theater Center Philadelphia, Long Island University, reading at The Kennedy Center and published in the anthology CENTER STAGE, In the Midst - produced by Long Island University, starring Samuel E. Wright. Hobbes spoke on the panel "Farewell To August Wilson" at the Guthrie Theater, broadcast on Conversations With Al McFarlane (KFAI, KMOJ). Singer-songwriter Dwight Hobbes recorded the single "Atlanta Children" (BeatBad Records) and gigged 10 years in the Long Island/NYC area, including The Other End, Kenny's Castaways and My Fathers Place. He fronted the Boston blues band Midlight. In Minneapolis, Hobbes opened for David Daniels at First Street Entry, James Curry at Terminal Bar, sat in with Yohannes Tona, Alicia Wiley at Sol Testimony's Soul Jam, The New Congress at Babalu, Willie Murphy at the Viking Bar and Wain McFarlane & Jahz at Lucille's Kitchen. Dwight Hobbes still drops in at the occasional open mic around town. www.myspace.com/dwighthobbesmusic
The Ting Tings
In a music generation where new acts are mostly stereotypes or copycats, it is tough to find a unique sound to enjoy and follow. Meanwhile, those who don’t fall in either category try to be inventive and make up something, only to end up an embarrassment to their fellow musicians. In the rare event that the experiment works, we dub the artist a musical genius. The same can be argued for The Ting Tings. When you have an indie pop band that blends original British New Wave groove with simple disco-punk riffs, it’s either a hit or a miss.
Making up The Ting Tings is front woman/guitarist Katie White and drummer Jules De Martino. Before getting a taste of the bitter reality of the music industry, this Manchester-bred duo was rocking out with their own respective bands. White was in a punk rock girl band named TKO, while De Martino played for indie bands Babakoto and Mojo Pin. The twosome’s first attempt to make music together actually included another member, but creative differences and management issues eventually caused them to split.
Since White and De Martino still had common music interests, they decided to form The Ting Tings. Today, when you think of a two-piece band, the first group that jumps to mind is probably The White Stripes. Besides number of members, the only thing similar between the two bands is the surname of their main vocalists. Even the beats of Meg and Jules are completely different, even if your first impression says otherwise. At this point, comparing The Ting Tings’ plucky, pop assault to The White Stripes’ powerful blues style is pointless and downright unfair. Still, The Whites Stripes isn’t a bad measuring stick if Katie and Jules are aiming for success.
The Ting Tings started out playing small gigs at Islington Mill, Salford. Little did they know that those frenetic gigs at The Mill would lead to We Started Nothing, the band’s debut record under the Columbia Label Group. Despite White’s rudimentary guitar skills (as seen in their live performances when she strums only one chord for the whole song) and De Martino’s minimalist approach to drum beats, their music is surprisingly catchy and appealing. Try listening to Great DJ or That’s Not My Name and you might find yourself bobbing your head and shaking your shoulders in no time. Even if you don’t see Katie’s propulsive energy during live performances, you can certainly feel it through the band’s music.
Jules and Katie have developed a musical identity that represents their snappy personalities and do-it-yourself attitude. This is completed by a backing track to give the band a fuller sound that allows Katie to go crazy in live shows. The Ting Tings knows exactly what they want and they are making it happen their way, their rules. They know they are a pop band, but that doesn’t mean you can’t change the way it is played. The Ting Tings have a sound that is immediately identifiable and purposefully perky. So call them the pop version of The White Stripes or the two-bit versions of Franz Ferdinand or The Killers. But that’s not their name. They are The Ting Tings.
About the Author
A Computer Engineering student and loves to travel. Reading current news in the internet is one of his past times. Taking pictures of the things around him fully satisfies him. He loves to play badminton and his favorite pets are cats.
For more information and queries, you may visit The Ting Tings Band
