Chuck Berry performs, honored as American Music Master

Chuck Berry on the State Theatre stage. (Rock and Roll Hall of Fame and Museum/Janet Macoska)

“Very happy to be here,” Chuck Berry said to the crowd, the tribute concert to himself winding to a close. “I’m 86 years old. I’m happy to be anywhere.”

The sentiment was certainly appreciated by the sold-out crowd that packed the State Theatre on Saturday night, all of whom were there to see the living legend and pioneer of rock ’n’ roll live onstage. Concluding the Rock and Roll Hall of Fame and Museum’s weeklong American Music Masters celebration, Roll Over Beethoven: The Life and Music of Chuck Berry, the tribute concert featured a lineup of musicians playing Berry’s original songs in recognition of the hall’s flagship honor. Fellow Hall of Fame inductees Ernie Isley and Darryl McDaniels took the stage, as did Lemmy Kilmister of Motörhead, Ronnie Hawkins of the Band, country music legend Merle Haggard and many others over the course of three-plus hours. Each musician played one or two of their personal favorite Chuck Berry selections, covering the wide gamut of his massive song catalog.

“The Rock Hall’s first inductee” as stated by president and CEO Terry Stewart, Berry was a member of the initial 1986 induction class and performed at the museum’s opening ceremony. Stewart also told the crowd of Berry informing him earlier that day that he still had the shovel from the site’s original ground breaking, his longtime connection to the museum making the festivities all the more meaningful.

Each musician brought their own creativity and distinct voice to Berry’s many masterpieces, including a particularly enjoyable Ronnie Hawkins’ performance of “Roll Over Beethoven.” But Berry was the man that everyone came to see, earning a standing ovation when he was introduced as the night’s final musical guest. The toll of 86 years and rock deification were obvious during his two songs on the stage, fumbling through “Johnny B. Goode” and “Reelin’ & Rockin’ ” with a great deal of help from his backing band, which included his daughter on harmonica and vocals and his son on guitar.

Not that the crowd seemed to mind. There’s something undeniably special about seeing a legend like Chuck Berry perform live, regardless of how much Mother Nature has slowed him down. Time certainly hasn’t diminished Berry’s showmanship or sense of humor though, evidenced by him nailing the quippy one-liners during “Reelin’ & Rockin’ ” that had plenty of parents shaking their heads in shock once upon a time, or doing a toned-down version of his signature “duckwalk” across the stage to ruckus applause. All things considered, the fact that he can still get out there and tear through those seminal rock songs is award-worthy in its own right.

Stewart presented the American Music Masters trophy to close out the evening, with Berry walking off stage accompanied by his wife of 62 years, Themetta. He paused to wave back at the crowd one last time, cracking a wide, appreciative smile, before turning to make his final exit ­— arguably the greatest pioneer of rock music disappearing behind the curtain as the crowd stood and cheered.

Liking Luxe All Over Again

Brian Okin has been running the kitchen at Luxe since June. The husband and I were on hand for tasting last week of his new fall menu organized for staff and few friends of the house. After making my way through samples of fourteen sides, salads, small plates, pizzas and entrees it's quite clear to me that this skilled chef has settled in and hit his stride. He's putting his mark on this restaurant, which has been around since 2008, and diners have reason to rejoice.

 Okin likes to promote himself as a serious carnivore cook, with a special interest in a certain unconventional protein, and the braised pork shank osso bucco (with cheesy polenta) leaves no doubt that he knows how to handle a piece of meat to bring out its finest qualities. Pork belly and garlic sausage are used to good effect in place of duck in a riff on cassoulet. Earthy porcini spaetzle, made with a powdered from of the mushroom, are dotted with what Okin calls "his best friend," bacon. And the prosciutto and fresh mozzarella stuffed chicken breast is pure poultry comfort food. But what really grabbed my attention was his ability to add real va-va-voom to veggies.

I went crazy over the salads. Really, no exaggeration. The wedge features small baby head lettuces and a fantastic smoked blue cheese dressing made with creme fraiche and a malt vinegar aioli they prep in house. Another is a combination of roasted cauliflower, butter lettuce, chickpeas, and pickled red onion, all set off by a raisin-sherry vinaigrette. But my personal favorite, as well as the entire table's pick for best, was the winter squash. Slices are coated in panko and toasted in clarified butter, paired with arugula, and drizzled with truffle oil and a wonderful Gorgonzola fondue.

A cauliflower gratin in gruyere crema was rich and satisfying. Squash with risotto and raclette cheese finished with brown butter and sage was an autumn on the plate feast. And then there were the fried brussels sprouts tossed in a lemon rosemary vinaigrette with capers and toasted almonds. Simply and yet perfect. Possibly the best version of these little cabbage cousins I've ever had.

One feature of the menu I really like is the family meal option (minimum of two people): $28 per person gets the table a  customized, three-course selection of dishes for sharing. Another noteworthy aspect is the array of options for vegetarians and vegans. 

Luxe has been around long enough to be a Gordon Square neighborhood fixture. But there are all kinds of new reasons to check it out now thanks to chef Brian Okin.

Harvey Pekar honored with statue at local library

Cleveland finally has a fitting tribute to one of its comic book heroes. But this one isn't to the Man of Steel. It's to "Our Man," Harvey Pekar, who passed away in July 2010.

An event titled "Harvey Pekar: A Literary, Library Life" took place on Sunday in a standing-room-only presentation room at the Cleveland Heights/University Heights Library's main branch — Pekar's favorite — and was capped off with the unveiling of an interactive memorial to the writer that was funded by a Kickstarter campaign started by Joyce Brabner, his widow.

After a few announcements from library representatives and an introduction by Brabner, illustrator JT Waldman gave a presentation on what it was like to work with the writer on the posthumously released Not the Israel My Parents Promised Me. The new graphic novel centers on conversations Pekar and Waldman, both Jewish, have about the history of Judaism and of the current policies and situations in Israel. Much of their work was done in the library, and the building is featured in the book.

Following "American Splendor," a song written and performed by local musician Marissa DeSantis, the crowd was ushered upstairs for the unveiling. The statue is mounted on a wooden desk and is of a bronze Pekar essentially walking out of a comic panel.

On the reverse side of the panel is sections of chalkboard and pieces of chalk so visitors can draw their own comic, stories or notes. There's also a drawer in the desk with a glass top that contains Pekar mementos like his AARP card and eye-glasses.

The statue is near the newly enshrined Harvey & Friends Bookshop, which sells used books, DVDs and vinyl records, one of Pekar's favorite things to collect. The event also featured the dedication of a Literary Landmark plaque from Untied for Libraries in connection with Pekar's work and research done at the library.

An Uptown Accent

I challenge anyone to walk into the Accent, Scott and Brenda Kim's new restaurant in University Circle, and not give a little gasp of amazement, especially after dark. The space is dramatic, ultra contemporary, and unique. The red and black color scheme is sophisticated and intense. Lighting has been used as a design element and after the sun sets the place simply glows. The cumulative effect simply wows the eyes and announce that this is something special.

photo by Barney Taxel

The food I tasted last week at a private pre-opening event confirmed that impression. Building on the possibilities offered by two innovative pieces of high-heat cooking equipment-a Robata grill and a Josper oven (I described both in a previous post), Kim and executive chef Michael Lyons have crafted a menu of exciting dishes. For me,a big part of the excitement lies in their concept of making dishes that are not only delicious but also healthy. Drawing inspiration from the many and varied cuisines of the Asian continent, they're employing cooking techniques that require less fat and are using whole grains in place of white rice and other good-for-you ingredients. I sampled mung bean pancakes, turkey "ribs" and slaw, edamame hummus with vegetable chips, kimchee flatbread, and three versions of donburi (rice bowl): beef, chicken and sashimi (raw fish). There isn't anything I wouldn't eat again with great pleasure, and the miso soup was some of the best I've had ever and anywhere. Vegetarians and vegans will definitely have options here.

photo by Barney Taxel

But don't imagine it will be any sort of sacrifice to dine here. The menu offers a wonderful selection: steaks, short ribs, scallops, roasted potatoes and rich desserts. I had the house version of smores and have no doubt I'll be back for some more.

Big windows face a pedestrian friendly plaza. There are plans for a patio equipped with a fireplace. It  promises to be a wonderful gathering place, inside and outside the restaurant, in all seasons. Other restaurants are planned for this urban hub. Accent, opening to the public Oct. 29, is the first, and it will launch Uptown as a true culinary district, much like East 4th Street. Both projects reflect the vision of the Maron family and their development company MRN Ltd. The patriarch Rick and his wife Judy were also at the Accent event, and when were introduced, I  felt compelled to thank him for the way he's investing in and helping to transform this city.

Soho's Got Something to Cluck About

Wednesday nights used to be slow at SoHo Kitchen and Bar in Ohio City. But not anymore. Ever since Chef and owner Nolan Konkoski decided to offer fried to order chicken by the piece and a selection of a la carte sides at a bargain price, you could say customers are flocking in. And no wonder. The build-your-own dinners  offer something for everyone in terms of portion size, combos and price. Plus, everything is really delicious.

 The poultry is all natural and Ohio raised. It comes out of the bubbling oil juicy on the inside with a wonderfully crisped skin and can be ordered mild or spicy. You can get a plate piled with wings ($1.50 each), a bargain breast ($4.50), a duo of drumsticks ($2.50 each) or a trio of thighs ($3.50 each).  The "fixins" available are all $3.50 a portion. The only problem with this arrangement is choosing among smoky mac n'cheese, collards with kick, mashers with bourbon gravy and red-eye cole slaw.

I was in a couple of weeks ago for a late night meet and meal with Heather Haviland. The hard-working chef and owner of Lucky's doesn't get out much so this was her first visit. We paired up our bird bites with jalapeno hush pups, deviled eggs, and yam waffles plus some of the house's heavenly biscuits accompanied by soft sweet butter and fruit preserves. She was wowed by the concept and the food, and coming from an accomplished pro like her that's high praise indeed.  We both left happy and while some of that may be attributed to the small amount of alcohol consumed and a couple of hours of  conversation between friends, credit must also go to the restaurant, the chef, and the simple pleasure of a good meal that doesn't break the bank. And for that, I've got to say, thanks Nolan.

New MOCA readies for opening

The Museum of Contemporary Art (MOCA) Cleveland is finally set to open its new building in the Uptown neighborhood of University Circle, starting with a few events this weekend and the first official admission of the public this coming Monday.

Beginning with the HEX party on the evening of Saturday, Oct. 6 — which is being billed as a spellbinding, three-tiered VIP event — MOCA members will then be invited to check out the new digs from noon to 5 p.m. on Sunday, Oct. 7. The opening ceremonies then culminate with Free Public Day on Monday, Oct. 8, where admission will be free to all visitors from 1-6 p.m.

The museum looked very near full completion at a media tour this past Monday, with only minor things such as sweeping the floors, finishing up the entrances and getting a few things put away left to be done.

The initial exhibit, Inside Out and From the Ground Up, was largely in place on the museums fourth floor, including an incredible Henrique Oliveira creation that appears as if it’s tearing down a connected wall, while also allowing you to glance inside its structure.

Piece by artist Henrique Oliveira

The paintings by Jacqueline Humphries were impressive as well, their location just opposite the windows on the museum’s top floor allowing for striking interaction between the natural light and metallic, shiny composition of the pieces.

Pieces by artist Jacqueline Humphries

But ultimately, it is two aspects of the museum’s structure that figure to have people buzzing early on. The alternative/fire staircase (which the building was required to have) is actually built into and within the main staircase, giving it a hidden and confined quality. Enclosed all the way through, from top to bottom, the stairway and surrounding walls are painted a bright and vibrant yellow, giving you the feeling of navigating a winding maze inside of a giant lemon.

The building’s exterior, designed by architect Farshid Moussavi, is likely to illicit discussion as well. The smooth, reflective black glass of the exterior starts as hexagon at the base and expands towards the sky to a square roof. The veiled loading dock and blended entrances, not to mention it’s location at the corner of Euclid Avenue and Mayfield Road leaving it exposed on all sides, gives the structure what executive director Jill Snyder describes as a “James Bond, seamless quality.”

The new MOCA building

For an in-depth, behind-the-scenes look at everything the museum has to offer, be sure to pick up our October Best of Cleveland issue containing our MOCA feature package, or check out the piece online. Those involved are hoping the sleek and contemporary vibe of the building and neighborhood will help to attract visitors and reinvigorate the art scene. And if you’re going for cool, James Bond isn’t a bad place to start.

Drum Roll, Please

Stewart Copeland

Stewart Copeland is a fan of Balinese music.

So it’s not terribly surprising that the drummer for the Police and composer of operas and film scores also has a certain affection for the gamelan (GAM-uh-lon), a family of percussion instruments indigenous to the Indonesian islands of Bali and Java.

It’s an interest that came in handy when the Dallas Symphony Orchestra commissioned him to create a piece featuring the Texas percussion quintet D’Drum.

“As a fan of music in general and somebody with an interest in what’s next, what’s cool and interesting-sounding, an American composer playing with gamelan bells — that sounds interesting to me,” he says of the challenge.

The result was Gamelan D’Drum, a three-movement, 35-minute composition for world percussion and orchestra, which will be a part of the Cleveland Orchestra’s first concert of its 2012-13 Fridays@7 series Oct. 5 at Severance Hall. “I’m an American guy. I’m not Balinese. This isn’t a representation of Balinese music,” says Copeland, who will be on-hand for the performance. “This is American music using very exotic instruments that bring with them all kinds of exotic atmospheric baggage.”

Q: Why did the Dallas Symphony Orchestra select you for this commission? 
A: There are things on paper, I guess, that would make me a good choice. Fusion is part of the credential. I think one thing that gave them great comfort was the fact that I’ve got art credentials but also professional credentials. A couple of the guys earn a living as film composers and as producers. They appreciate the value of working with somebody who understands a deadline, somebody who understands things that artists don’t usually have to deal with. And I myself, as an artist, place great value on craft and professionalism, stuff that I learned in 20 years as a film composer.

Q: Why did you accept it? 
A: Working with a big orchestra like the DSO is something that doesn’t come around every day of the week, and getting a chance to not only work with such an orchestra, but being commissioned to write something really out of the normal run of orchestral composing experience. Throw in the fact that when I got a look at these guys [in D’Drum], what they can do and their collection of instruments — and there’s this incredible collection of instruments to compose for, to be accompanied by a mighty symphony — we were at “yes” two reasons ago.

Q: Was that instrument collection your biggest challenge in composing the piece? 
A: Every stage of it was challenging. [Working with] instruments like the rice trough – call that an instrument? How do you notate for that? Well, you notate it exactly the same way you do as with all the other Balinese instruments. And at the end of the day, getting that onto a page that the conductor can read was also a challenge.

Q: In 1989, you attended Cleveland Opera’s world premiere of your first opera, Holy Blood and Crescent Moon. What do you remember about that experience? 
A: Opening night was a big splash. Everyone had a great time. The standing ovations — it really just felt like a big smash. … The next morning the B cast, at 9 o’clock or some ungodly hour, were all back at the State Theatre. They bring in these kids who couldn’t give a hoot about anything other than the fact that they got a day off from geography, French, reading, writing and arithmetic. The minute the countertenor comes out squealing, there was a big laugh. The morning after the night before was an adventure in humility. We can laugh about it now. In fact, I laughed about it at the time. I mean, you couldn’t not laugh. It was hysterical.

-By Lynne Thompson