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His music is what some would call a€?adult acoustic rock,a€? full of catchy phrases and big hooks. Recently, Grega€™s new album, Maybe the Sun, drew the attention of WFUVa€™s John Platt, who featured Greg on his a€?Sunday Breakfasta€? radio show and in his monthly a€?On Your Radara€? live show at the revered East Village songwriter mecca, The Living Room.
Elements of bold performance, musical chops and clever wordplay in the family lineage hint at what was to come for Greg and his brothers.
Louis Tannen, Grega€™s grandfather, was an influential magician who opened a magic shop in New York City in 1925.
At around 9 or 10 years old, Greg studied clarinet, but said, a€?I was terrible at it.a€? After maybe a year of cacophonic practice, he switched to guitar. After that, they both left Colorado and together went to North Carolina, where the third Tannen brother, Robert (today a successful screenwriter), was living. Greg and Steve wrote together quite a bit in Colorado and, in New York, theya€™d hang out together at their respective apartments and at open mics.
Greg was visiting Steve at his place and while jamming, the basic riff emerged and by the end of the evening, they had the melody and the chorus. Roam, released in 2000, was about traveling around and it kicks off with a€?I Feel Lucky,a€? a joyous and twangy guitar rocker that matches anything Tom Petty ever wrote.
Maybe the Sun, released in late 2010, is a lot less New York-based and wide-ranging in its themes. One time, however, when Greg was in California, he appeared with them during one episode as part of a sub-plot on the TV series Dirty Sexy Money (2007-2009). After eight hours of hanging around, they got all of three seconds of screen time, playing secretly in a hotel room for the Lucy Liu character, who couldna€™t be seen in public attending a concert with her illicit lover (deep-pocketed, since how else are ya gonna afford a private Weepies concert?). Although Greg went on tour in late 2010 for two weeks behind the new album and played some one-off shows, performance plans at present are minimal. We want to encourage our readers to order Grega€™s CDs online and look for upcoming appearances in our listings pages in the months to come. In high school, he got his first band together called Talking to the Wall, with Greg on vocals and his Fender Telecaster (which he still owns). Returning to the States after one year, he settled in Boulder, Colo., (a€?A fairly good music towna€?) for about two years with older brother Steve. Given Grega€™s uncanny knack for radio-friendly tracks from the first album on, our conversation turned to songwriting. Though such songs were often full of cliches and pretty vapid, I have a soft spot for ones that are composed well musically, even if the lyrics are not particularly strong. The path to such early recognition was taken eagerly, like a runner catapulting from a starting block. Our interview, in exploring her lifea€™s path, revealed a person who, for all her dazzling gifts, is still down-to-earth, quick to say a€?thank youa€? to any accolades a€” and a delight to talk to. As far as influences go, she says a€?It was all over the map,a€? To a listener, ita€™s easy to see that jazz really got in, and got in deep. About her mom and dada€™s rearing skills, she continued: a€?The daring does come from a place of being supported as a child and as an artist. Her grandfather, who was a jazz pianist and a composer, had passed away when Sonya was very young, and had left her mother his grand piano. Wikipedia, in a somewhat dated post, states: a€?As a 10-year-old, she performed at the 1999 Special Olympics World Games in North Carolina. Sonya has said that she developed as a jazz singer through her studies with Sheila Jordan, a renowned vocalist and educator (Jordan initially became known as an interpreter of the music of Charlie a€?Birda€? Parker and later studied with Charles Mingus and Lenny Tristano). Although she had started studying guitar with June Millington (followed later by lessons with Michael Daves), she was, at this point, fronting the band strictly as a singer.
Sonya continued to strictly sing out front with the band as back-up until she was forced to start playing guitar with the band.
Her fourth CD, released in 2010, Convict of Conviction, (more of an EP - 7 tracks) is another distinct departure and was, as she says, a€?a collection of music from winter, done with a string quartet.a€? We hear more piano here, as this is where Sonya decided to seriously make use of it. Sonya got a camera from her father when she was 12 and has been an avid photographer ever since. The foundation for Sonyaa€™s dream to be a singer was built brick by brick, one teacher after another.
We began in June of 1999 with a cover story on Steve Tannen, the older brother of this montha€™s featured performer, Greg Tannen. Over the years, while I kept getting distracted by Fast Folk Musical Magazine alumni or someone new whoa€™d catch my ear, Greg just kept getting better and better, winning and placing in songwriting competitions (John Lennon, UNISONG, USA, ISC) and awards in festivals (Sierra Songwriters, Telluride, Rocky Mountain Folks).
However, after reacquainting myself with all of Grega€™s albums, I found that ita€™s really a continuation of a body of beautiful and compelling songs. Although Louis died in 1982, there is still a Tannena€™s Magic showroom near Herald Square and a Tannena€™s Magic website where magic products are sold. His family moved to Toronto right after his first birthday and stayed for around six years.
The first names to come tumbling out of Greg were: a€?a lot of Duke Ellington, Thelonious Monk and Bill Evansa€? (Pete is a huge Bill Evans fan).
The band played covers of the Rolling Stones and REO Speedwagon, among others, and some of Grega€™s original songs. At home, in more private moments, he was writing on acoustic guitar, focusing on songwriting, under the influence of acoustic-based songwriters such as Bob Dylan and those in Dylana€™s lineage.
Taking his acoustic guitar and travel bag, he went to Australia, a€?doing the vagabond thing,a€? staying in youth hostels part of the time. They played gigs together as a duo called The Kahluas (named after the familya€™s dog) and made a recording.


Then, as Greg tells it, during their respective a€?crap part-time jobs,a€? at their computers, they started emailing lyrics back and forth to each other. This is followed up with the gorgeous a€?Everything I Said,a€? a haunting reverie about a girl named Vanessa who stands by the clock in Grand Central Station with her hair up. An attempt to do an extended riff turned into a laugher and is tacked on as a short bonus track. The title track is another soulful rendering of a breakup that somehow seems a bit more sharply rendered than its predecessors. I posed the idea that brother Roberta€™s screenwriting connection had something to do with it. He said, a€?Ia€™ve made a bunch of trips down there, written with some great people, had some great meetings, buta€¦ they want me in Nashville, and Ia€™m just not ready to live there.a€? Thata€™s good luck for us. There is something I find aesthetically pleasing, I guess, about hearing good music at the end of a film I like (and even some I don't so much) played over the rolling list of names. I am completely the wrong voice to sing it; I wrote it for a Grace Slick-style female vocal, which it sorely misses (if anyone knows a Grace Slick-style singer, please let me know!). It dips, swoops and flips up into a falsetto at times, not commonly used by women singers a€” like a female version of Al Green. The first album, Words Came Back to Me, released when she was just 16, put her on the aural map, not just locally, but worldwide.
Her parents, both full-time professional artists, had a big impact on their toddler daughter.
Although the family lived in a rural area, it was part of the a€?Happy Valleya€? and home of a€?Five Colleges,a€? including Smith and Amherst. For four years she has taken part in the Vermont Jazz Center Summer Program with Sheila Jordan, and she has won an a€?outstanding musiciana€? award from the University of Massachusetts High School Jazz Festival and a scholarship to its Jazz in July summer program.
She had always kept a journal, but the events of that day would become more than just a journal entry. By the time she started performing, she had written about three original songs, and filled out her sets with covers of jazz standards. Quoted elsewhere, she said: a€?One of the main things I remember doing when I was young, was driving ridiculous distances, just to sing one song at a jam session here, or a show there. Speaking about her development in general, she said: a€?Everythinga€™s happened almost, because I had to [learn new skills]. A sponsorship deal with Starbucksa€™A® Hear Music label brought the CD into coffee shops around the world. In an interview with Howard Berkes of NPR, we hear: a€?Once I started writing I couldna€™t stop. Since wea€™re only now getting around to younger sibling Greg, you might say wea€™re running a little bit late.
Ia€™d run into Greg often over the years and hea€™d greet me warmly, seemingly knowing it was only a matter of time before Ia€™d recognize his mastery of the songwritera€™s craft. Pete had been admitted to the Berklee School of Music for jazz, but his parents told him, a€?Therea€™s no money in music,a€? so he didna€™t attend. He picked that up and started playing it, saying he didna€™t want to study clarinet any more, and began taking guitar lessons from a female jazz guitarist. When Greg was 17, the band came into New York City and recorded its first (and only) album a€” material that a€?will never see the light of day,a€? he wryly states.
Toward the end of high school, accompanying himself on acoustic guitar, he performed his original work at open mics and at the end-of-the-year senior talent show. While at Oberlin, Greg did more performing on acoustic guitar, doing small gigs and open mics.
He always had his guitar out and busked in Sydney and Cairns (up the coast from Sydney near the Great Barrier Reef).
After less than a year, Greg moved to New York City, and Steve followed a few months later.
Rosanne has been very supportive of Greg, twittering to her fans about him during his opening sets, and generating lots of CD sales. His take is that when you collaborate with someone, a different style emerges, a hybrid of two people.
Grega€™s in the middle of a writing spurt and hopes to have enough material for a new album next year. When Greg was 17, the band came into New York City and recorded its firstA  (and only) album a€” material that a€?will never see the light of day,a€? he wryly states.
As with many things I have done, I never completed the full script of that idea, but I did compose some of the music: the tracks and partial tracks I already posted, and also a 1980s synth-power-pop-rock style song that most movies of the era seemed to have to play at key points, often over the end credits.
The film was pretty much mid-80s junk, and the song is commercial pop through and through, and -- though it was very popular -- was criticized for being so at the time (those who remember Jefferson Airplane from the 1960s might view this song as a nadir and wonder what the heck happened to those guys). So, because this song was supposed to be the end credits song of the film I am imagining, I decided to make up an imaginary credits list instead of another picture video. Lost in a reverie, she questions an inner voice that says a€?walk away a€¦ walk away a€¦ walk away.a€? The lover she is contemplating comes with a lot of baggage and the mic shea€™s singing into lets us hear every breathy syllable. Her newest album, Convict of Conviction, reveals an artist eager to break new ground every time she puts pen to paper or sets her instrument(s) in motion.
Ita€™s a wonder that we havena€™t heard stories about her first cries carrying a melody as she emerged from her mothera€™s womb. Their studios were a€?a stonea€™s throwa€? behind the house they lived in and both played recorded music while they worked. The area is also rich in music and home to many bands, such as Fountains of Wayne, The Nields and Winterpills.


That didna€™t happen, she has said, but the lessons have obviously been a huge success in every other regard. She said: a€?I think it was the first time I really understood the worlda€™s suffering and felt really bad about it.
In 2003, an article by Seth Rogovoy, of Berkshire Living Magazine, described 13-year-old Sonya this way: a€?poised and well-spoken a€¦ shea€™s not at all haughty and doesna€™t come across as particularly precocious.
It was made with Grammy-winning producer Malcolm Burn (Daniel Lanois, Peter Gabriel, Emmylou Harris) after her tour with Hancock ended.
Listening to his father play and hearing the melody digressions in jazz were a big part of Grega€™s formative experience (still a€?a€¦my favorite thing to listen toa€?).
His most rewarding experience was working as a first mate, cooking and playing guitar on an 80-foot charter sailboat that was also an Americaa€™s Cup challenger. Stevea€™s song a€?Brother Uptowna€? on his debut CD Big Senorita describes him coming in late and crashing at Grega€™s apartment. Although free of drug references and busts, to these ears, stylewise, ita€™s a cousin to the Grateful Dead hit, a€?Truckina€? with some a€?Friend of the Devila€? thrown in. Two tracks later, wea€™re treated to the award-winning a€?Mary,a€? in which wea€™re young again and transported to a summer night car ride with a girl in a white dress.
They think that the head of the show was a big Deb Talan fan and wanted her on the show, so The Weepies were written into the script. He good-naturedly referred to the results of the combination of his efforts with others as a€?Frankensteina€? in nature. This is the song for that movie, expressing the feeling Abby has in rediscovering the family she thought was lost.
But compared to a lot of the over-sampled music from today, it sounds pretty bright and fresh, and has an appealing beat, I would say. I may not have been thinking ahead to how small the image would be on YouTube and elsewhere, so I apologize for that.
Teachers were within reach and, with her mothera€™s help, she eagerly studied with quite a few. Her other vocal coach during this period, Rebecca Parris, is a jazz singer similar to and on a level with Carmen McRae and Sara Vaughan and is known as the First Lady of Boston Jazz.
I felt the need to do something a€” I had the desire to fix it, even though you cana€™t fix the worlda€™s suffering. She just happens to be the youngest performer to have sold out the Iron Horse Music Hall in Northampton two times in a row.
If I dona€™t write a song for a couple of weeks, I feel something pent-up inside of me that needs to come out. A never-opened wooden a€?mystery boxa€? Abrams got as a boy at Tannena€™s Magic Shop played a seminal role in shaping his suspense-heavy career vision. Over a throbbing bass line we hurtle down the road and, the dash board lights set our sights way up higha€¦ hold on tight to mea€¦ Mary.
I also wanted to find a video clip to start the sequence, but I discovered that they charge ungodly amounts of money to buy even 10 second clips, and I am far too cheap to shell out for that, so a still image it was! The rock band The Slip joined her for the recording sessions and then later accompanied her on tour.
Often when it finally comes out, ita€™s not about me, but ita€™s a song and I feel lighter.
About that magic booka€¦ it sits on a shelf and, when pulled, it opens the door to Abramsa€™ secret bathroom (really). When faced with enormous expenses for his kidsa€™ college tuition, he spent years as Creative Director of various advertising agencies in New York City, Sydney, Australia, and Toronto, Canada. To many of their fans, ita€™s their most popular song and they still perform it together when touring schedules coincide. It centered around relationships and darker themes crept in, albeit always with beautiful melodies. Sonya saw the gospel choir and thought a€?It was the coolest thing ever,a€? so she asked her mother if she could take voice lessons with Evelyn. I eventually started writing more, then suddenly [the set] was mostly originals and then it was all originals.
Sometimes, her father, Peter Kitchell, a highly regarded abstract painter, would hold infant Sonya in a Snugli against his chest and play bongos along with Latin music. Ita€™s really important to me that my songs mean something to people and Ia€™m trying to write songs that are universal. I had basic skills, understanding music, but I never considered myself a piano player.a€? That would change many years later. As two or three years went by, I started to live all of those songs and understand them more deeply. Sonya got a band together with older students she knew and thus, Sonyaa€™s performing career was launched. Most of the people there have maybe never played with a band before and I never played solo before.



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