Jason Ager

At Annapolis showcase, musicians have a night of their own
In a weekly series at the Austin Grill, musicians share their original material and a sense that local talent is deep

By Jonathan Pitts, The Baltimore Sun
May 7, 2011

For as long as he could remember, Jordan Page had dreamed of becoming a rock star, but the harder he strummed and the louder he sang his music, the more distant his goal seemed.

Then the Annapolis resident had the dream.

One night four years ago, he woke up suddenly, the lyrics to a new song pouring forth in his mind. He scribbled them down while strumming his guitar: I heard voices that claimed to be moral and righteous/Whose lies and deceit were all dark and contagious/I heard talk of a country that valued its freedom/ But when I protested I was arrested and beaten.

Before long he had completed "The Pendulum," a political screed he has been showcasing on national tours ever since.

"I went from being a person who couldn't care less [about politics] to someone who's all in" in the fight to preserve liberty in America, "and it totally changed my approach," he told an intimate audience at the Austin Grill in the Westfield mall on Tuesday night.

Page, 31, was one of two guest performers at last week's Showcase of Original Music in Annapolis, or SOMA, a weekly event at the restaurant where area performers are given the uncommon chance (and a few bucks) to perform a full set of their own material, uninterrupted.

"For those of us in the business, it can become a bit of a grind to play show after show of cover music," says Bryan Ewald, a veteran local guitarist who co-hosts the series. "This is a nice opportunity for artists to air out their stuff for an interested audience."

Not every new song, of course, heralds a political awakening. Last week's crowd was treated to the sounds of Jason Ager, a Baltimore-based singer-songwriter who served up a set of clever, scat-flavored alt-pop that left them laughing. The contrast reflected the diversity of the series and a breadth of local talent even long-timers find inspiring.

"We tell [the artists], 'Please come show us what you've got,'" says Meg Murray, Ewald's co-host and a vocalist who has fronted blues-, R&B- and folk-inflected groups in the area over the past 15 years. "We've had men and women, reggae, hip-hop, blues, rockabilly, folk. … Bryan and I have been on the scene for a long time, and every week we learn something new about who's doing what around here."

Bridging generations

It has long been said that greater Annapolis plays host to more than its share of bars and clubs that host live music. That has attracted scads of professional players and spawned a scene some say rivals that of indie havens like the real Austin, Texas.

Dozens of those players are serious part-timers; some make it their sole job. One full-timer is Ewald, 39, an Arnold-based husband and dad whose guitar wizardry — "a blend of Clapton prowess and Harrison uniqueness," in the words of Bay Weekly reviewer Matthew Pugh — has made him "one of the best and most prolific players in the area."

Ewald plays at least 250 gigs a year in three different bands, and that inevitably means cranking out a lot of music made famous by more celebrated artists. "You might want to weave in more of your own stuff, but there's always that thing of paying the mortgage," he says.

Most serious players, Ewald says, have original material they'd love to play in public if they had the chance — a fact that opened an opportunity for Austin Grill manager Danielle Scott, who decided about a year ago to try to get the eatery on the region's crowded musical map.

She asked Ewald to use his contacts to get it going, and he and Murray, a longtime collaborator, have been running the show since October.

Meg & Bryan, as they're known locally, start each show with a 40-minute set of their own, in part to attract their established fan base. Then they cede the stage to two other acts in a show that generally ends by the family-friendly hour of 10. Bookings have featured once-popular bands that have cut back their schedules, breakthrough shows for younger artists or solos or acts just looking to network and have fun.

With free admission nearly most weeks, crowds have averaged between 40 and 50 — not bad, Ewald says, for a Tuesday night in a setting that seats 100 and sits far from the artsier climes of downtown.

The series has bridged old and new, showcasing the work of rockabilly veteran Dean Rosenthal of Annapolis; the ethereal, Baltimore-based folk-rock act Naked Blue, and Jill and Don Davolio of Millersville, whose high-energy rock band, Gingham Shmuz, spent a decade opening for the likes of Keb Mo, the Black Crowes and the Allman Brothers before family life intervened.

But Ewald and Murray have also booked a who's who of younger artists: Brandon Hardesty, 25, an Annapolis resident who fronts the Bumpin Uglies; the Carousel Rogues, indie rockers fr - The Baltimore Sun

At Annapolis showcase, musicians have a night of their own
In a weekly series at the Austin Grill, musicians share their original material and a sense that local talent is deep

By Jonathan Pitts, The Baltimore Sun
May 7, 2011

For as long as he could remember, Jordan Page had dreamed of becoming a rock star, but the harder he strummed and the louder he sang his music, the more distant his goal seemed.

Then the Annapolis resident had the dream.

One night four years ago, he woke up suddenly, the lyrics to a new song pouring forth in his mind. He scribbled them down while strumming his guitar: I heard voices that claimed to be moral and righteous/Whose lies and deceit were all dark and contagious/I heard talk of a country that valued its freedom/ But when I protested I was arrested and beaten.

Before long he had completed "The Pendulum," a political screed he has been showcasing on national tours ever since.

"I went from being a person who couldn't care less [about politics] to someone who's all in" in the fight to preserve liberty in America, "and it totally changed my approach," he told an intimate audience at the Austin Grill in the Westfield mall on Tuesday night.

Page, 31, was one of two guest performers at last week's Showcase of Original Music in Annapolis, or SOMA, a weekly event at the restaurant where area performers are given the uncommon chance (and a few bucks) to perform a full set of their own material, uninterrupted.

"For those of us in the business, it can become a bit of a grind to play show after show of cover music," says Bryan Ewald, a veteran local guitarist who co-hosts the series. "This is a nice opportunity for artists to air out their stuff for an interested audience."

Not every new song, of course, heralds a political awakening. Last week's crowd was treated to the sounds of Jason Ager, a Baltimore-based singer-songwriter who served up a set of clever, scat-flavored alt-pop that left them laughing. The contrast reflected the diversity of the series and a breadth of local talent even long-timers find inspiring.

"We tell [the artists], 'Please come show us what you've got,'" says Meg Murray, Ewald's co-host and a vocalist who has fronted blues-, R&B- and folk-inflected groups in the area over the past 15 years. "We've had men and women, reggae, hip-hop, blues, rockabilly, folk. … Bryan and I have been on the scene for a long time, and every week we learn something new about who's doing what around here."

Bridging generations

It has long been said that greater Annapolis plays host to more than its share of bars and clubs that host live music. That has attracted scads of professional players and spawned a scene some say rivals that of indie havens like the real Austin, Texas.

Dozens of those players are serious part-timers; some make it their sole job. One full-timer is Ewald, 39, an Arnold-based husband and dad whose guitar wizardry — "a blend of Clapton prowess and Harrison uniqueness," in the words of Bay Weekly reviewer Matthew Pugh — has made him "one of the best and most prolific players in the area."

Ewald plays at least 250 gigs a year in three different bands, and that inevitably means cranking out a lot of music made famous by more celebrated artists. "You might want to weave in more of your own stuff, but there's always that thing of paying the mortgage," he says.

Most serious players, Ewald says, have original material they'd love to play in public if they had the chance — a fact that opened an opportunity for Austin Grill manager Danielle Scott, who decided about a year ago to try to get the eatery on the region's crowded musical map.

She asked Ewald to use his contacts to get it going, and he and Murray, a longtime collaborator, have been running the show since October.

Meg & Bryan, as they're known locally, start each show with a 40-minute set of their own, in part to attract their established fan base. Then they cede the stage to two other acts in a show that generally ends by the family-friendly hour of 10. Bookings have featured once-popular bands that have cut back their schedules, breakthrough shows for younger artists or solos or acts just looking to network and have fun.

With free admission nearly most weeks, crowds have averaged between 40 and 50 — not bad, Ewald says, for a Tuesday night in a setting that seats 100 and sits far from the artsier climes of downtown.

The series has bridged old and new, showcasing the work of rockabilly veteran Dean Rosenthal of Annapolis; the ethereal, Baltimore-based folk-rock act Naked Blue, and Jill and Don Davolio of Millersville, whose high-energy rock band, Gingham Shmuz, spent a decade opening for the likes of Keb Mo, the Black Crowes and the Allman Brothers before family life intervened.

But Ewald and Murray have also booked a who's who of younger artists: Brandon Hardesty, 25, an Annapolis resident who fronts the Bumpin Uglies; the Carousel Rogues, indie rockers fr - The Baltimore Sun

Funky. Soulful. Rocking. Just a few words that popped into my mind when Jason Ager's new CD, Jason Ager & the C.O.P.O., Lunchdate, dropped across the Ripple desk. After one song I knew we were gonna have to chat with this dude and learn what makes him tick. With that, we suddenly found Jason sitting on our red interview couch, popping open a cold one and telling tales.

[Cont.] - The Ripple Effect

Funky. Soulful. Rocking. Just a few words that popped into my mind when Jason Ager's new CD, Jason Ager & the C.O.P.O., Lunchdate, dropped across the Ripple desk. After one song I knew we were gonna have to chat with this dude and learn what makes him tick. With that, we suddenly found Jason sitting on our red interview couch, popping open a cold one and telling tales.

[Cont.] - The Ripple Effect

First up on our rundown is this downright funky, delightfully bluesy, deliberately rocking platter from street funkmeister Jason Ager and his C.O.P.O. Now, I don’t know what C.O.P.O. stands for, but it’s filled out by Austin O’Connor jazzing out on the bottom end and Sheri Gallagher keeping the whole shebang moving on time. A while back, Pope and I professed our love of gritty, funky street blues bands such as Fun Lovin’ Criminals and G. Love and the Special Sauce. Now add Jason Ager to that list. Blessed with a voice that just oozes soul the way BP oozes oil, Jason takes his time moving through this juicy set of hip and cool steamers. “Jocelyn” puts it all right on display. Jason’s voice is rough and gruff, languid, unhurried as he digs deep into his vocal chords. Best of all, despite the song moving at a nice clip, Jason takes his time with this burner, letting it ebb and flow, grow and recede. Great guitar, deep funky bass, Sheri hitting everything within arms reach. It’s all good. Fans of G. Love must take note of this one. “Sing-Along Jawn,” brings in some tasty, underground club jazz bass to kick us off, dropping into a stuttering funky treat. “Blue Kathleen,” is about as funky as white folk can get. “Rock Star,” is a loose-strung bout of down-home, barbecued funk, while “Strawberry Wine,” has just got to be the feel-good hit of the summer. Give me a picnic, a soft blanket, a warm breeze blowing through the leaves of a dangling weeping willow, and my wife and we got us a day of summer perfection.

A dynamite debut, and perfect for these hot summer days. Black tank top not included. - The Ripple Effect

First up on our rundown is this downright funky, delightfully bluesy, deliberately rocking platter from street funkmeister Jason Ager and his C.O.P.O. Now, I don’t know what C.O.P.O. stands for, but it’s filled out by Austin O’Connor jazzing out on the bottom end and Sheri Gallagher keeping the whole shebang moving on time. A while back, Pope and I professed our love of gritty, funky street blues bands such as Fun Lovin’ Criminals and G. Love and the Special Sauce. Now add Jason Ager to that list. Blessed with a voice that just oozes soul the way BP oozes oil, Jason takes his time moving through this juicy set of hip and cool steamers. “Jocelyn” puts it all right on display. Jason’s voice is rough and gruff, languid, unhurried as he digs deep into his vocal chords. Best of all, despite the song moving at a nice clip, Jason takes his time with this burner, letting it ebb and flow, grow and recede. Great guitar, deep funky bass, Sheri hitting everything within arms reach. It’s all good. Fans of G. Love must take note of this one. “Sing-Along Jawn,” brings in some tasty, underground club jazz bass to kick us off, dropping into a stuttering funky treat. “Blue Kathleen,” is about as funky as white folk can get. “Rock Star,” is a loose-strung bout of down-home, barbecued funk, while “Strawberry Wine,” has just got to be the feel-good hit of the summer. Give me a picnic, a soft blanket, a warm breeze blowing through the leaves of a dangling weeping willow, and my wife and we got us a day of summer perfection.

A dynamite debut, and perfect for these hot summer days. Black tank top not included. - The Ripple Effect