Thursday, February 24, 2011

Tired of the same old, same old on the Torrington (CT) restaurant scene?

It seems if you're driving from Hartford on Route 44 (202) and heading west, after you get through Canton your choices in terms of cuisine really dwindle. While Avon, Simsbury and Canton boast of numerous choices such as Indian, Thai, Lao, Vietnamese and others, Torrington, the largest city in northwest Connecticut and the hub of Litchfield County has seemingly little variety. If you like pizza, no problem. Torrington probably has one of the highest pizzeria per capita ratios in the state! Likewise, there are many restaurants serving Chinese food, fast food, Italian and American/continental cuisine. Perhaps the proliferation of pizzerias and Italian restaurants is understandable since Connecticut is the most Italian state in the union, according to the latest census statistics.There are also some great diners and local institutions serving time-tested breakfasts, lunches and dinners to loyal customers. However, for the more adventurous there are some terrific options too.

Fuji Japanese Restaurant at 1883 East Main Street serves authentic Japanese cuisine in a pleasant environment, complete with entertaining hibachi chefs, a sushi bar and numerous other features. Las Delicias Latina at 433 Main Street is a great little Mexican place offering the real deal in terms of Mexican food at a great value in a cozy setting.
 
Falafel at Noujaim's Specialty Foods
 
Noujaim's Specialty Foods at 281 Winsted Road is another gem, serving up delicious Lebanese, Middle Eastern and Mediterranean cuisine to go or eat in. Another winner, Northern Galapagos, right next door at 281 Winsted Road, Suite 3, serves tasty Spanish and American cuisine in a bit more elegant settting.

Ecuatoriano & American Cuisine
A more recent establishment among Torrington restaurants is Ecuatoriano & American Cuisine located at 1241 East Main Street. Here, you can find outstanding Ecuadorian and South American dishes, American and Italian classics with a twist, exotic fruit drinks and shakes, and more.

Las Delicias Latina

My wife and I have eaten at each of these restaurants and would highly recommend them for their food, value and service. So, next time you want to go out for lunch or dinner, consider some of the not so ordinary options Torrington has to offer. Your adventurous exploits are sure to be rewarding.

Wednesday, February 23, 2011

REVIEW: Noam Elron "Fluctuation"


Israeli bassist Noam Elron, though an avid listener of music from his youth, only took to the serious pursuit of playing and composing in his mid-twenties.  However, in the ensuing time he has developed and burnished his craft through private study, session work and live performance in venues both large and small.  Some of the festivals Elron has played include the Israel Festival and Caesarea Jazz Plus.  Though jazz, both traditional and contemporary, appears to be his primary genre and mode of expression, his avenues of musical application include rock, R&B, funk and others.  Additionally, Elron has composed and performed music for film and theater as well as serving as co-leader and bassist for contemporary jazz unit, Umami Quartet.
Brimming with inspired performance, a variety of ethnic influences and magical interplay, Fluctuation is Elron’s brilliant solo debut recording.

Displaying the tasteful restraint and maturity of seasoned artistry, Fluctuation is really the fruit of a collaborative effort between guitarist Dima Gorelik, flautist Hadar Noiberg and percussionist Noam Landsman, rounded out and led by Elron on double bass.

“An Interesting Young Woman” serves as the album’s wistful intro, awash in lyrical guitar and flute melodies, shimmering cymbals and understated bass.  A rustic quality, perhaps evoking Gabor Szabo, offers early evidence of Elron’s contentment to let the music speak without him having to be in the spotlight.  It’s this wisdom and unselfishness which helps to make Fluctuation such a delightful collection.

The flamenco-infused “Los Agvañiotes” exquisitely balances the fiery guitar strumming and flute of Gorelik and Noiberg with peaceful passages.  Sharp accents and flowing melodies make for a fluid tension and release effect while Gorelik’s contemplative guitar solo halfway through is a terrific counterpoint.  Because Fluctuation is such a synergistic effort, it’s difficult to make the case that any one player stands out, but it’s clear that Noiberg’s flute shines with buoying melodic effect on “Los Agvañiotes” and throughout.

“Constante Anhelo” is a mellow piece, colored with Latin pastels and Elron’s deliciously textured and underscored playing. Like a fire gently stoked, energy gradually builds then recedes just at the climax.
Middle Eastern vibes, courtesy of Noiberg’s flute, add unexpected spice to the Latin Jazz of “Sababa 5”.  Memorably lyrical passages make the piece accessible and inviting whilst the sizzling energy of the group provides danceable inspiration.  Landsman’s drums and cymbals crackle with zest yet reveal an uncanny sensitivity to space and time.  What’s also evident is that Noiberg’s or Gorelik’s solos are never obligatory; rather they are thoughtful enhancements to the compositions and album at large.

In its intro, “Oblivion,” penned by Astor Piazzolla and the only non-original piece on the record, offers a humble showcase for Elron’s sinewy bass interpolations and slap percussion.  A quietly rich cohesion is established as the musicians interact, supported by Elron’s cavernous lines.  “Oblivion” is a splendid gem, radiating earthy colors and subtle beauty, and punctuated by impassioned interplay.  Landsman is particularly impressive here for his use of timber, texture and rhythm.

“Hydra Variations in F# Minor” reveals a bit of avant garde flair before settling into a groove.  Conversation between Noiberg’s flute and Gorelik’s guitar add a bit of tension as accented bass and drum offer a solid foundation.  The pensive “Fluctuation” is a gorgeous centerpiece, displaying creative mastery and thoughtful muse.  The sunny-sounding “The Day Without Time” breathes with openness and free expression, imbued with the soft richness of Noiberg’s flute.  Gorelik sets forth a memorable guitar motif which is revisited periodically.  Surprisingly, in a most pleasant way, backing choral chants enter into the mix, lending a distinctive old world flavor and suitable finishing touch as the music fades out.

Much in the way fellow bassist John Patitucci is able to interpret the music of various cultures and sensibly incorporate it into his own compositions, Noam Elron, with his solo debut, shows himself to perhaps be a branch off the same musical tree.  Fluctuation is an authentic beauty of an album that never sounds like it’s trying too hard to be anything; it just simply is.

Review by Mike Roots
Rating: 5 Stars (out of 5)

Saturday, February 12, 2011

REVIEW: Mindy Hartman "Speak To Me Now: A Journey"

The very best of gospel and sacred music is borne not merely of creative inspiration, but of personal experience in one’s relationship to God.  The realization of His existence, salvation and purpose for humanity, and individuals, serves as a point of origin for getting to know, love and serve Him.  And so it is with Chambersburg, PA native Mindy Hartman.  Having become a follower of Christ upon her conversion at the age of fourteen, she became involved in music ministry in her local church.  During this time, she studied and trained under professional voice teachers to develop her gift and enable her to pursue her passion through music.  In addition, Hartman participated in the glee club at her high school and also discovered an interest in reciting poetry and prose, even going on to compete in a national tournament in her senior year.  In the fall of 1994, she joined Living Miracles, a young people’s choir directed by Doris Ortman, and continued with the choir until it disbanded ten years later.  Aside from singing, Hartman began to further explore opportunities to use her reading and recitation skills and thus became involved in narration and the recording of audio books.  While this considerable background of learning, growth and experience are foundational, it only tells part of the story of how Speak to Me Now: A Journey, her debut recording, came to be.

A fascinating and relevant point of consideration is that Hartman is blind from birth, and her blindness influences her perspective as a person, as a Christian, and as a singer.  Further, it was tragedy that God used to guide and encourage her to use her talents and gifts to honor Him and bless others.  Hartman’s seventeen year old brother Aaron died in an automobile accident just months before the September 11, 2001 attacks.  The fruits of her experiences, both good and bad, positively inform and influence the fifteen tracks that make up her faith-affirming debut.

Primarily a collaborative effort between Hartman and keyboardist Duncan Holmes, Speak to Me Now: A Journey is characterized by genuine expressions of quiet devotion and reflection.  The selections on the album are an effective combination of Holmes compositions and traditional hymns, each chosen with apparent consideration for the general theme.  Perhaps to complement the devotional and personal nature of the songs, Hartman’s voice was recorded dry, with no apparent enhancements.  For listeners, this may be slightly off-putting, but once the first few songs settle in, any distraction this may present, fades away.

The Holmes original, “In My Mother’s Womb” seems to be influenced by a combination of English folk  and Hebrew music, with what sounds like harpsichord and piano accompaniment.  Her alto is pleasing on the ears, and the harmonies on the chorus offer nice emphasis, though she tends to cut her syllables short, giving the song a narrative quality.  The title track, a simple and soothing prayer of yearning and commitment, while sincere in its message expressed unto God, falls short in terms of musical originality.  “Speak to Me Now” has a predictable flow in term of chord changes, and may have benefited from different musical choices.  Still, from a lyrical and vocal standpoint, it’s serviceable and does display Hartman’s warm and pure alto rather nicely.

The “The Master Has Come,” with its Welsh melody and challenging cadence, proves to be difficult for Hartman to squeeze in all of the words while having time to breathe.  In all fairness, this is one of those hymns that is generally not easy to sing, but it might have been advantageous for Holmes to slow the tempo down a bit. The great Irish hymn, “Be Thou My Vision,” similar in structure and its sheer lyrical fullness, is more successful.  Generally, Hartman handles the vocal phrasing quite well, but still, it’s quite a pace to keep up with.  Triumphant-sounding synthesizer chords and organ add to what begins with simply piano and vocals.
Hartman, with a delivery combining singing and speaking, comes across with self-effacing honesty as she shares the struggles of walking the road of faith on “Introspection.”  Her mood moves from voicing complaints about these challenges, including dealing with her own weaknesses, to endeavoring to trust in the Lord and His sacrifice.  Though the honesty and integrity of the message is not lost, Hartman’s sing-speak style is a bit awkward.

On “Trust and Obey,” rendered in simple a cappella harmony, the vocals are straightforward, allowing the lyrics to shine through.  “Lord God, Why Did You Choose Me” brings a refreshing musical change with its traditional gospel chord structure and tasteful and heartening accompaniment by Holmes on piano and string bass.  In addition, Holmes, possessing an earthy baritone voice, adds interesting contrast to Hartman’s alto.  Unfortunately, the combination of the two voices, aforementioned sing-speak delivery, and production doesn’t quite mesh.

When on “He Keeps Me Singing,” Hartman sings “All my life was wrecked by sin and strife / Discord filled my heart with pain / Jesus swept across the broken strings / Stirred the slumbering chords again,” there is a sense of personal connection with suffering and God’s redemption.  The combination of Holmes’ bouncy piano and Hartman’s ebullient vocals, subtly shifting to reflect sorrow and joy, represents a highlight on the album.  Likewise, the hymn “Oh Love That Wilt Not Let Me Go” is also a gem as it receives Holmes’ reverent and inspired piano treatment, providing the ideal backing for Hartman’s pledge to loyalty to the Lord.  The slower tempo revealed here, seems to be ideally suited and allows the strength of the music and the meaningfulness of the lyrics to come through.

“He’s My All in All” reflects Hartman’s passion for narration and storytelling with it’s biblical references to God’s faithfulness.  Effectively, she ties in these biblical accounts with her own life thereby making the song personal, while also emphasizing the practical application of scripture.  When Hartman sings “He’s a Father to the fatherless and I’ll tell you right now / He’s a husband for the woman who that’s alone / He’s a comfort to the comfortless / He binds the broken heart / He’s the kindest, truest friend I’ve even known,” it is comforting.  Considering Hartman’s blindness, “Turn Your Eyes Upon Jesus” takes on deeper meaning as the encouraging lyrics point to the kind of seeing that is by faith and of the heart.

Mindy Hartman is clearly a singer whose purpose is not to perform, but to minister, and that intent is unmistakable as evidenced by the choice of songs and the way in which they are presented. Though there are a few weak spots, Speak to Me Now: A Journey will certainly reward the listener in search of simple, sincere and uncluttered songs of faith, worship, loyalty and devotion.
Review by Mike Roots
Rating: 3 Stars (out of 5)

REVIEW: Robotic Lunch "Zangief"

Comprised of lead singer and guitarist Lee Aldridge, bassist and vocalist Chris Fleming, and drummer Bob Little, Robotic Lunch is a Canadian rock band whose name may give you the wrong idea about their sound.  Rather than relying on technology, such as programmed rhythms and synthesizers, this is a guitar-driven power trio, drawing on influences from bands such Soundgarden, Nirvana, Stone Temple Pilots and Alice In Chains.  As these influences would indicate, Robotic Lunch dishes up heavy and filling musical cuisine.  Zangief, perhaps named after a namesake video game street fighter, is Robotic Lunch’s introductory entrèe.

Possessing a voice somewhere between that of Chris Cornell and the late Josh Clayton-Felt (School of Fish), Aldridge both counters and compliments the heaviness of Robotic Lunch’s sound with the ability to wail, while adding pop sensibility.  To put it simply, Aldridge is much more of a singer than a screamer, and that’s a good thing.  Critically-acclaimed as an IOMA award-winning guitarist, his six-string abilities are characterized by a combination of thick and heavy riffs and searing solos.  Fleming and Little are likewise proficient on bass and drums, and Zangief reveals cohesiveness developed over six year of gigs and practices in and around Ontario.


Apparently a nod to Robotic Lunch’s assumed affinity for computers and video games, “010101001001001100″, with it’s blips and bleeps, serves as a short intro.  Between this, the band name and album title, you get the sense that maybe these guys know how to have fun and not take themselves too seriously.  However, the overall tone of Zangief certainly is serious. “Volatile” is a no-nonsense rocker, fueled by thick and distorted guitar riffs, and razor-sharp accents.  As Aldridge sings, “It takes way too long for you to crack the code / It may look like gold from here but I can tell you that it’s gonna explode / These lights are burning me / And now I cannot see / I’ll turn my plan to flee from this fight / So volatile”, the message is clearly one of warning.  Further references to a “world coming up from below” and of one who “made a trade for an eternity of self-defeat”, are perhaps apocalyptic in nature.  Though intense, both the lyrically and musically, “Volatile” is melodic and memorable in a most attention-getting sort of way.

“Circles”, possibly the clearest reflection of the Alice In Chains influence, is heavy and brooding, filled with sledgehammer riffs and three-part harmonies.  With “Seen Enough”, Robotic Lunch does what they do best by combining muscular rhythms and pop catchiness.  Dynamic instrumental play is accentuated by openness at various points as the heaviness lets up and comes back in at the just the right time.  The message could be perceived as either encouraging or sarcastic as Aldridge sings, “Wake up, let’s go / I can’t imagine there’s more to know / Each day renewed again / I’m stuck inside these walls I’ve built / It’s time to get up….”
On “Richard Ball”, Little’s thundering drums and Aldridge’s wailing guitar give way to chugging and changing riffs, ala King’s X and the Galactic Cowboys.  The song is either autobiographical or about the main character (Richard Ball?), and seems to tell of the perils of isolation.  “Nothing There” reveals Aldridge at his most Clayton-Felt-esque as he sings of paranoia and the feelings of not being free.  Whether or not these are self-examining is difficult to discern.

Not the name of a distance planet, “Onandon” is actually the words “on and on” cleverly combined, and the title of what may be the album’s most brutal sonic assault.  With processed and gutteral vocals, Aldridge sings, “Waking up anew / The battle (?) / Something’s got to give / Just don’t repeat defeat / It goes on and on” and “back on this treadmill again / I can’t get anywhere / Still I try to fight but there’s no end in sight / It just goes on and on.” It seems Aldridge is referring to a personal, perhaps spiritual battle.
Continuing with a pervading minor-key sound, “That’s What They Say” is a vignette, offering welcomed relief with it’s acoustic base.  With lyrics such as, “I call, you’re there to wash away the fear” it’s not certain whether they’re personal and devotional in nature or perhaps being considered, as, well, “that’s what they say”.

“Fossils”, at nine minutes in length, is reflective, thought-provoking and musically engaging.  Little is impressive with his paradiddle rhythms, and likewise Fleming, as he keeps things anchored with steady, grooving bass lines.  “Earth over me, just a memory me / But I left my mark, we’re not afraid of the dark / One minute here, next minute gone / When singing (?) / We won’t be waiting for long” and “I want it, you need it / And you don’t really care / I want it, you need it / Now I’m pulling out my hair” come across as enigmatic, maybe indicative of an intensive search and struggle for meaning and truth.  Later, when with soaring vocals, Aldridge sings “Thought it was something / Now I know that it’s nothing / I thought it was something more / Now give me more”, he seems to thirst for deeper meaning and purpose in life, perhaps in dissatisfaction with what the world has to offer.  It’s compelling, thoughtful and challenging stuff.

Zangief is a solid debut from Robotic Lunch.  Overall, the sound is intense and offers evidence of impressive musicianship while serving as vehicle to communicate and express thoughts both personal and observational.  While it’s likely not all of the songs will win over listeners, “Seen Enough”, “Volatile”  and “Nothing There” have particularly strong potential to increase Robotic Lunch’s audience and have them wondering what might be next added to the menu.
Review by Mike Roots
Rating:  4 stars (out of 5)