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Your Gateway to Music and More from a Christian Perspective Slow down as you approach the gate, and have your change ready.... |
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Since 1996 |
Your Gateway to Music and More from a Christian Perspective Slow down as you approach the gate, and have your change ready.... |
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Artist:
Keith Cooper
The Cup o' Joy Christian Coffee House Green Bay, WI URLs: http://www.keithlcooper.com, http://www.cupojoy.com 22 November 2008 Keith Cooper's fingers--and other parts of his hands--sing so sweetly through a guitar that it's as if his instrument were grown around his chest. At times it appeared as if he were taming his instrument, but more often it appeared as if he channeled some beauty and truths about the God who gave him such talent that words can't give do those divine attributes justice. So, when Cooper laughed about how a chord or run on his fret-board sounded "so cool," it didn't sound like the chortle of self-impressed ego. Rather, it seemed like the laugh of amazement at the ability that the Lord has given him to perform something would please his ears even if he weren't playing it. Amazement was probably in surplus at this first of Cooper's two shows this evening at The Cup o' Joy. The former guitarist for neo-big band Denver & The Mile High Orchestra's mellifluous virtuosity encompasses the fusion jazz and new age of Al DiMeola and Michael Hedges, but draws from the country-politan picking of Chet Atkins, a generous assimilation of blues, touches of bluegrass and flamenco technique and--in what he must not have been kidding about when he mentioned it to the hosting radio station's DJ who introduced Cooper to a full house-gangsta hip-hop. That last stylistic leap was made by the syncopated slaps and taps he gave to the axe he brought with a a built-in microphone (though fans of the decidedly un-gangsta Bobby McFerrin could likely have appreciated that percussiveness, too). It's doubtful Cooper's talents were allowed so wide a berth of versatility during his stint with that big swing band. Cooper was ostensibly playing to support his latest album of instrumentally re-intrepreted hymns and his Christmas album from last year. He was generous with both and joyously unafraid of interpolating melodic and harmonic explorations into familiar melodies from _The Nutcracker_ to "Amazing Grace." When he wasn't drawing from those discs early in his set, three or four numbers in a row sounded like parts of a suite separated by applause breaks every few minutes. Nigh amazingly, also early on in the show, there were brief intervals where he gave the impression of electronically looping himself, as Phil Keaggy and Robert Fripp are known to do. But no, everything the audience heard sprung from Cooper's agile digits. His agility extended to Biblical exegesis, too. In his only speaking break (apart from singing along a bit to a hymn), he expounded upon a couple of verses from Matthew that speak to the gravity of the Christian faith. The sermonette flowed naturally enough from the rest of his performance. Before leaving the stage to cool down before his second set, Cooper offered a mini-guitar clinic and Q&A session. For someone like me who wouldn't think of picking up the instrument, Cooper's explanations of a few fingering and strumming methods demystified the talent Cooper has in doubtless abundance. As a reflection of his passion for teaching, it's a thoughtful gesture that others in his position aren't always so wont to do. And besides, a Christian coffee house should be among the last places one should expect to see a guitar "god," right? Jamie Lee Rake November 23, 2008
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