LPR Presents: Kendra Morris

LPR Presents: Kendra Morris

The Jack Moves, Miles Francis

Thu, March 16, 2017

8:00 pm

Union Pool

Brooklyn, NY

$10.00 - $12.00

This event is 21 and over

LPR Presents
(Le) Poisson Rouge is a multimedia art cabaret founded by musicians on the site of the historic Village Gate. Dedicated to the fusion of popular and art cultures in music, film, theater, dance, and fine art, the venue’s mission is to revive the symbiotic relationship between art and revelry; to establish a creative asylum for both artists and audiences.
LPR prides itself in offering the highest quality eclectic programming, impeccable acoustics, and bold design. The state-of-the art performance space, engineered by the legendary John Storyk/WSDG, offers full flexibility in multiple configurations: seated, standing, in-the-round, and numerous alternative arrangements. The adjoining gallery space — The Gallery at LPR — functions as an art gallery, secondary bar, and event space. A work of art itself, the physical facilities are the embodiment of the experimental philosophy that drives the venue.
LPR is a source you can trust for exposure to visionary work, people of character, and a consistently dynamic environment. We invite you to immerse yourself in a nightlife of true substance and vitality.
Kendra Morris
Kendra Morris
Kendra Morris recalls singers who straddled soul and rock during the early '70s, such as Ruth Copeland and Chaka Khan, while her contemporaries include the likes of Mayer Hawthorne, Alice Russell, and Leela James. Morris's musical taste was developed through her parents' record collection, a library heavy on late-60s and early-70s soul and funk. During her childhood Morris's main companion was her karaoke machine, which she also used for the sake of recording. While enrolled in college in Tampa, FL, she became so involved in performing with bands that she decided to leave behind her studies and take on music full time. She took up the guitar, as well as songwriting, and eventually involved herself with a band, Pinktricity, which moved to New York in 2003 and split shortly thereafter. Morris took to recording songs on her own, and self-released a pair of EPs: This Won't Hurt a Bit (2007) and Milk and Cookies Never Lie (2008). Her first proper recording, a self-titled EP (2010), was recorded with producer and multi-instrumentalist Jeremy Page (of That Handsome Devil). After touring with legendary guitarist Dennis Coffey and releasing a series of singles which included "Concrete Waves," whose b-side was remixed by DJ Premier, Morris released the album Banshee (2012) on Wax Poetics. In 2013, Morris returned with the covers album Mockingbird.

Both Banshee and Mockingbird received critical acclaim and a cult following, with several film + tv placements. The title track "Banshee" was used prominently in the Showtime hit series Ray Donovan, while her cover of Pink Floyd's "Shine On You Crazy Diamond" found itself in the trailer for major motion picture Dead Man Down.

In between extensive international touring and promotion for Banshee throughout 2013 and 2014, Morris worked on a small side project band with friends Scarlett Johansson, Julia Haltigan and Holly Miranda, releasing one single called "Candy." After taking some time to write and record her follow up EP titled Babble, Kendra Morris will return with its release scheduled for late spring of 2016.
The Jack Moves
The Jack Moves
Born out of the mid-2000s skate scene, the Jack Moves are a product of an illustrious and creative period of downtown New York. What began as a late-night Ghostface Killah imitation while playing around on the MPC soon evolved into a musical adventure that found the duo in a very different downtown, that of Newark, New Jersey.

It all began when Florida-born, New Jersey–raised Zee Desmondes left home for the big city after high school. Raised on a healthy diet of old-school soul and ’ 80s classics by music aficionado parents, at the age of nine Zee began playing guitar and singing Misfits-inspired punk in garage bands with friends. Around 2006, while attending the New School and living in Stuy Town with a friend who skated, Desmondes met former pro Teddy Powell at LES skate community hangout Tompkins Square Park. After spending his high school years in San Francisco as a pro skater sponsored by the likes of Stereo, Teddy Powell was back in town couch-surfing and skating his way through the tri-state area. The son of legendary ’ 70s Black music promoter Teddy Powell Sr., Powell had music in his life from birth. A drummer from the age of three, he began digging through his father’ s and older brother’ s record collections at an early age, and started putting them to use upon his return to Jersey. It was Powell's unique beats that caught the ear of Desmondes, who was also developing an interest in production. Now running with the likes of downtown skate/street art impresarios like Harold Hunter, Quim Cardona, and Harif Guzman, the two became fast friends with a shared love of music. One night while Powell was playing a beat for the crew, Desmondes began freestyling in his best Ghostface Killah voice that had everyone in stitches. It turned out this special gift wasn’ t solely confined to Wu-Tang members either; he was adept at imitating a large swath of hip-hop MCs. This led to more frequent jamming and knob twiddling, but it was Desmondes’ s special interest in the types of records Powell was sampling that led the duo to a Linden, New Jersey, record store that Powell would frequent for unheard gems. It was there that the owner began feeding the duo lowrider comps that were gaining popularity at the time, showcasing some of the finest sweet-soul gems ever laid to wax.

It was the transcendent nature of the music, of a people rising above the day-in and day-out struggle that spoke to the young vocalist. “What drew me to soul in the first
place is this marriage of so many different musical styles within this one type of music,”says Zee. “So with sweet soul, for instance, you have the rhythm and it’ s super Black—it’ s heavy, it’ s funky, it swings; the bass is always super funky, and it’ s got this toughness to it. But then on top of that, you have these big, lush open chords with jazz progressions—an almost Western influence, especially when you’ re talking about the strings and horn arrangements; you get notes of Tchaikovsky and Jean Sibelius, Beethoven or Ravel. It was this great combination of hip-hop—you can hear the roots of hip-hop in the rhythm and the chords, gospel chord changes and grooves—but then this beautiful symphonic element to it.” As they became more obsessed with sweet soul, their research led to them trying to play something from that era. The first attempt was a cover of Don Julian and the Larks’ cover of Bread’ s “I Wanna Make It With You” that seemed to impress their friends enough that they decided to do more. After playing a few shows downtown, they recorded and self-released a 45 of the Ledgends classic “Fool for You,” backed with an original composition, “Kiss in the Dark.” After biking around NYC and pawning them off on a few local record haunts, the response generated enough buzz in the new-soul vinyl community to attract the attention of Wax Poetics Records and the confidence to take it more seriously and keep recording.

But first they had to get out of Desmondes’ s mother’ s South Jersey garage. Looking for something closer to the city, Newark’ s combination of cheap rent and quick commute made it the perfect spot. Zeroing in on a garbage-strewn second-floor walkup above a tattoo parlor in the heart of downtown, the pair shaped the abandoned space into a fully functioning analog studio with two-inch tape machine, vintage board, and a sound room large enough to fit a fifteen-piece string section. But they soon realized there was a lot more to writing soul songs than they knew, as they struggled getting their ideas into form. After befriending a local soul music store owner who pointed them in the direction of a few local legends, they began a two-year boot camp in songwriting, arrangement, and production that gave them the ability to fully express themselves like they never had. With this new knowledge in place and Newark as their cultural backdrop, they began writing their own material that would speak to the timeless nature of soul music, but a music that was of its time. Singer, producer, arranger, and multi-instrumentalist Zee

Desmondes delivers a falsetto reminiscent of some of blue-eyed soul’ s greats Daryl Hall and Bobby Caldwell, while drummer and producer Teddy Powell—who has placed beats on G-Unit and U-God projects—provides a steady, aggressive hip-hop-inspired bottom that propels the music forward. It’ s an amalgamation of many styles and influences, spanning ’ 60s and ’ 70s soul, ’ 90s hip-hop, L.A.’ s lowrider scene, and today’ s millennial skate and streetwear communities. Desmondes concludes, “It started out very much about ‘ Let’ s try to replicate this old music.’ But I think where we’ re at now, and where we’ ve arrived at with this first album, is that we still want to do something new. We don’ t want to just bow down at the temple of those who’ ve come before us; we want to do our part to carry the torch further. To put the now into it, to make something new. Because we don’ t just love soul music; we love hip-hop, we like rock, lots of indie bands—so it’ s about taking all of those influences and making something unique out of it.
Miles Francis
Miles Francis
Produced, arranged, composed, and performed by Miles Francis. The songs layer intimate pop melodies on a homemade R&B base. The live show centers around Miles Francis’ arresting presence as a singer, guitarist and drummer, with 2 instrumentalists at his right and left in support. At 25 years old, he’s already toured the world as a drummer (most recently with Will Butler of Arcade Fire), and this is his debut as a solo artist.
Venue Information:
Union Pool
484 Union Ave
Brooklyn, NY, 11211
http://www.union-pool.com/