It’s in no way easy to pull off “cool” in the music business, especially as a young artist. Granted yes, some new artists are cool for a few months… only to then check out to the musty waters of “One Hit Wondervillle” or out the gate think being cool is just wearing nice clothes and dating the latest supermodel. Others though, the real pros – the ones who when thrust into the limelight – do it effortlessly like John Legend, Michael Buble, Jay Z, the White Stripes, etc… are experts because well… they’re just cool for life. They show us that cool is more than just style – it’s about attitude and form. And to this point, you must admit that the coolest form of music out there is jazz. Yes, hip-hop has the attitude thing down pat, and pop stars can make you want to hang up posters of squeaky clean teens, but jazz will live on forever. The aura around jazz itself is a blend of sex, style, art and creativity that doesn’t allow just anyone to join its inner circle. You can either rise to the level of elite or end up singing bad covers in a hotel lobby outside of some random airport.

So when the Brooklyn-based Israeli artist known as J.Viewz – the jazz induced, electronic project from Jonathan Dagan was sent my way by a fantastic publicist I’ve known for years (who has yet to disappoint me), I was a little hesitant about immediately jumping on the band wagon. I read the bio – award winning, chart topping, radio play, etc. – all very impressive. But it was when I clicked on a YouTube link to J.Viewz’s jazz inspired take on Michael Jackson’s “Smooth Criminal” that I was totally sucked in.  Set in a dim lit bar afterhours, J.Viewz sets the stage for an interpretation of Jackson’s hit like I’ve never seen. The first word that came to mind, very simply – cool.

Dagan grew up listening to industrial music and progressive rock– “It’s still a part of what I’m listening to these days, so I’m not really sure where this came from. I think it’s the freedom in programming and engineering that I was after which drove me into jazz to begin with.” Dagan adds, “I gradually found how it can work in a natural way with breakbeat or rock, and I’m trying to incorporate this type of production in almost everything I work on.” Whether viral or in person, J.Viewz shows are knocking fans left and right between jazz, electronica reggae and everything in between. “When creating the live version of this project I felt like I had the choice to go along with the vibe that exists on J.Viewz’s studio releases, which is sort of calm, and could even be background music. But I chose to go full-on with it and take everything a few notches up in terms of energy and power. So we present some different versions to all songs, we go from jazz to electro to reggae to breakbeat, and the main thing that I find interesting in this show is the combination of the electronic elements with whatever is going on with the acoustic elements on stage.”

Recently, J.Viewz’s latest EP, “The Besides” has been grabbing attention, filled with a range of tunes including their interpretation of classic covers like “Smooth Criminal”, a Nina Simone Remix, and other edits for tracks from the first J.Viewz’s album “Muse Breaks”. “The Besides” is a compilation that showcases why J.Viewz is bringing jazz to the new millennium. “Every tune is very different from the other as it wasn’t written as an ‘album’ to begin with, but as single tunes. It shows a funkier side of J.Viewz I feel, not as relaxed as ‘Muse Breaks’. It also shows the change that my music has gone through by being exposed to the crowd in live shows and the group work of the live act itself… It also gives a taste of my works as a remixer with the Seeline Woman Remix and the Remix of Yasmin Levi’s ‘Naci en Alamo (Vengo)’.”

J.Viewz is a stunning example of what happens when a creative mind with classic roots can use modern tools to twist one of America’s finest forms of music. To take the slickest style and make it better? That’s a gutsy move… but when you successfully pull it off, it’s just plain cool.

For more on J.Viewz check out: www.jviewz.com and as always, to check out the best musical talent from across the globe, visit www.PensEyeView.com.

Nearing 500 consecutive features on PensEyeView.com, I’ve never featured the same artist/act/work more than once and I don’t plan to for my Tuned In blog either… but for this one – I’ll make a slight exception because, I got ‘em! Got who you ask? Well, if you have been following my blogs, you’ll see that I posted one earlier about an elusive artist from Baltimore by the name of Adam Duritz, lead singer of the Counting Crows – one of my the top musicians I have yet to cross off of my “Must See” list. That was until, ironically, only weeks after posting my Tuned In blog about his very entertaining social media entries did his people finally connect with me and I got to review him live in person.

Aside from watching my gorgeous little girl take her first steps, The Traveling Circus and Medicine Show concert featuring the Counting Crows, Michael Franti and Augustana (both of which I highly recommend checking out) was the highlight of my summer. When the circus arrived at the acclaimed Merriweather Post Pavilion last month and set up tent, the ring master himself –Duritz – was graciously welcomed home as one of Baltimore’s favorite sons as he peeked through the curtain to the loyal band of followers patiently waiting. Covering music for a while now, I’ve been lucky enough to attend many, many concerts, however, this time it was a little different – a little more personal. Now, I know the professional oath journalists take says we aren’t allowed to claim a “favorite” or make things personal, but once in a while, you have to let your guard down or at least lower the sword.

I first discovered the Counting Crows back in 1994 when I saw this wild character with long dreads, dancing around on the stage of Saturday Night Live singing “Mr. Jones”. I was hooked. The next day I begged my mom to drive to the local record store (anyone remember those places?) and bought a tape (how about? Remember them?) of “August and Everything After”, the Counting Crows debut record and the first album I ever purchased with my own money. It may sound cheesy but that collection started a new chapter in my life and helped me discover my love for music. With that said, I have to say there is something pretty amazing about watching one your favorite bands sing some of your favorite songs within an arm’s reach.

The flow and set up of the concert was nothing like your normal rock show; I mean, rarely – if ever – do the opening acts get this much attention. And I dare say, never does the main act, an hour before the show even starts when most people are still filing in, sit on the edge of the stage and play an acoustic set. Unheard of. So rare, that most people didn’t even believe it was Duritz and Immy perched on the edge of the stage at 7 o’clock! The commotion around me matched the crowd’s reaction, press folks saying “There is no way… can it really be them?”  And rightfully so, I mean, would any top artist do this today?

One fantastic highlight of this surprise jam session was when drummer Jim Bogios used just his hands and a thick book with a pocket mic mounted on the end as his “drum set”. I was laughing just thinking of him concocting this concept knowing some press person – insert me – would eagerly inquire about why he picked that book (which may not be appropriate for this blog but trust me it was very funny). Then like a vanishing act, the ring master and his lively flock headed back behind the curtain with another promise to be back again shortly.

When the curtain finally came up this time, every act in the Traveling Circus was there, including special guest Emmy Rossum who showcased her own vocal skills. The three groups; Counting Crows, Michael Franti and Spearhead along with Augustana all took turns sharing their stage… the way it should be done. This wasn’t your typical show where the opening acts – who you should be listening to – get little to no crowd since they come on before you’re even in the ticket line.

Both Michael and Augustana had their chance to perform in front of the packed Merriweather Post Pavilion, then slowly giving way for Augustana to perform alone. Then one by one, the other members came back on, and then slowly drifted away for Michael Franti to take center stage. You didn’t even realize the transition; it just worked perfectly. Finally, the Counting Crows took the main stage and everyone…connected. And even though Duritz calls New York and California his home now, the Baltimore native gave several shout outs to Baltimore, including an emphasis on lyrics such as “I was born on the shores of the Chesapeake Bay” and “Baltimore! I –Am – Home!”

This concert was one of the purest forms of musicianship I have ever seen… period. It was great to see the “opening acts” (a term I despise) get their fair share of the spotlight and refreshing to witness the headliner remain on stage with them to perform. This wasn’t mandatory – it is a Counting Crows tour after all, but this was a combined effort that fans won’t soon forget – the way it should be.