Ken Thomson’s Amazing “Sextet”


 

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Panoramic Recordings

First of all this packaging is about twice the size of a normal CD package.  It is lovingly designed by Jason Das and visually suggests a sort of nostalgia for innocence, for childhood perhaps.  The performers are all of that “New York Downtown”/modern music background and this is a set of rigorously trained musicians.    Put them together as a sextet and tap their virtuosity as well as their improvisational abilities and some clever programming and you get this album.

It is an unusual but ultimately very satisfying album.  It starts with (of all things) a transcription of music by the late Hungarian master Gyorgy Ligeti, his Pasacaglia Ungherese (1978) which is originally for harpsichord.   This is hardly a “jazz” piece and one wonders at the choice of this particular work to be the one to make that all important first impression.  The transcription (by Ken Thomson) is quite effective however and very entertaining.  I’m not sure why the it was chosen but it works well here.

This leaves us with the remaining six tracks (all composed by Ken Thomson) which are more clearly in the realm of “jazz” the way most listeners are accustomed to hearing it.  Drums keeping the beat, a recognizable bass line, and improvisational solos over the harmonic progression.  These virtuosos are given a challenge by said composer and the solos which populate these tracks are one of the best things about this release.  Clearly these musicians are comfortable with their virtuosity and they seem to understand jazz.  They got and held this listener’s attention most immediately.

The Ken Thomson Sextet consists of Ken Thomson, composer and alto saxophone; Anna Webber, tenor saxophone; Russ Johnson, trumpet; Alan Ferber, trombone; Adam Armstrong, bass; and Daniel Dor, drums.  Clearly all these folks have a thorough knowledge of jazz performance and can take their audience on a mighty exciting ride.  The solos will stick in your head long after the initial thrill of your first hearing and this is a nicely balanced group functioning almost as a single entity.  Very cool.

This is chamber jazz at its finest.

 

Gourmet Vegan with Solo Bass


Chef and host Philip Gelb (left) introduces Rashaan Carter

Friday August 17th was one of the last of Mr. Gelb’s famed Masumoto peach dinners incorporating the incredible peak of the harvest peaches into his magical vegan creations.  It is ostensibly among the last of his famed dinner concert series which has now run about 13 years.  Whether the series is ending remains to be seen but the opportunity to partake of Gelb’s culinary art should never be missed and this night we had the opportunity to hear a fine young musician as well.

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Phil started me with this tasty IPA, perhaps the only item that was not peach related.

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Dinner for about twenty happy diners began with this delicious corn soup.  Gelb has an eye for artistic presentation.

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A little peach based salsa added a bit of fire for those of us who enjoy spicy things.

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And on to the Baiganee (eggplant fritters) with peach kuchela and peach chutney.

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The main course was Jerk Stewed Tempeh, Rice, and Peas Calaloo.  Unfortunately my eating got a bit ahead of my picture taking but you get the idea.

Peaches are, as I said earlier, from the Masumoto family farm near Fresno where three generations have been producing some of the finest fruit in the state.  The tempeh is also locally sourced from Rhizocali Tempeh of Oakland.  It doesn’t get better than this.

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The tradition here puts the musician on stage just before dessert.  Rashaan Carter is an American musician from Washington D.C. who now resides in New York.  He was passing through the bay area and Philip Gelb extended an invitation which he graciously accepted.

He began with an improvisation which he had initially done for a dance piece depicting the lynching of a black American woman Laura Nelson and her son in Oklahoma in 1911.  Now this could really bring down the mood of the evening but for the fact that Carter spoke of and subsequently played this piece with such passion that all one could really feel is the tragedy of the act and the heroic expression of what is essentially protest music dedicated to her memory.

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Rashaan has no small bit of the Blarney.  His running commentary during the performance was as entertaining as that of a stand up comic as he engaged most thoughtfully with the evening’s clearly appreciative audience.

He graced us with what he said was originally intended to be a performance of a Charlie Haden piece but decided he wanted to do his own piece as a sort of homage.  Indeed he captured Haden’s spirit oh so well in another virtuosic and passionate performance.

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He ended with another sort of tribute, this time to Henry Threadgill.  Again his gift of gab provided just the right segue into the next piece and his familiarity with Threadgill was immediately apparent.  His facility with the acoustic bass produced nearly vocal sounding lines in a performance that did honor to Threadgill and left the evening’s audience very pleased.

We concluded with Blueberry polenta cake with peach ice cream and blueberry raspberry sauce, all vegan, all absolutely delicious.

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And we will all keep an ear out for Rashaan Carter from this point on.  Bravo!

The Alchemy of Diversity at Sound and Savor


 

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Freshly baked bialys right out of the oven opened the brunch.

This is another in the continuing account of my encounters with Philip Gelb’s underground vegan salon now called Sound and Savor.  For some twelve years now he has hosted a series of dinners, brunches, and cooking classes.  Many of the multi-course meals also feature some of the finest musicians, many from San Francisco and the east bay.

Today’s brunch started with fresh brewed coffee with a dollop of ginger (vegan) ice cream along with fresh baked bialys with cashew cream, pickled red onions, and “carrot lox”.  So we began with a vegan Jewish theme.  Needless to say these were delicious and the coffee helped waken anyone not ready for this 11AM start.

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The next course was a similarly delicious borscht (beet soup) with beet pakoras.  And clearly Phil has introduced this traditionally Indian dish which worked remarkably well with that soup.  Again all were hot out of the pot/fryer clearly in our view.

As Phil performed his culinary alchemy in the kitchen we were most attentively served by his assistant for this meal, Letitia, a smiling joy of a woman who seems to have the knowledge and genuine caring of customer service in her blood.  She was equally attentive to all in the crowd of about twenty diners with the usual mix of familiar faces and few new ones.  Indeed the beautifully presented courses came at just the right pace.

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The main course in this brunch was a Potato-Onion Tortilla, blood orange salad.  And once again the diversity of cultures mixed to truly savory results as the friendly conversations flowed.  At this point even the hungriest would hope for a pause and that’s exactly what happened.

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With a judicious touch of rearranging Phil prepared a performance space for the three musicians who graced us on this beautiful sunny Oakland day.  Jay Ghandi, bansuri (Indian Flute), Sameer Gupta, tablas (a staple of Hindustani music), and David Boyce, saxophone and bass clarinet (need I say a staple of jazz?).  The alchemy of the food would now find an analogy in this jam session.  Boyce and Gupta had played here about a year ago and Ghandi is a frequent collaborator with both musicians.  All three had played yesterday in San Jose and were scheduled to play in San Francisco at the Red Poppy Art House.  They are touring to promote their recent release A Circle Has No Beginning.  These are just three of the musicians who participated in this crowd sourced disc which is itself worth your attention.

The energy was immediately palpable as seen in this excerpt from one of three pieces they played.

This last excerpt demonstrates the ease of communication between these musicians who blend diverse backgrounds of jazz and Hindustani musics seamlessly into something new and wonderful.  The audience was energized to a level beyond what coffee could do and broke into appreciative applause after each piece.

The brunch ended with a dessert of (again fresh baked) Citrus Semolina Cake and more of that delicious coffee and ice cream.  And, of course, more conversation.

These events have become a regular part of this writer’s recreational time and a real reason to celebrate living in the diverse and creative east bay.  Phil’s judicious blend of cultures in his culinary experiments provide a parallel to his curation of some of the finest musicians with the only purpose in both case to entertain and enlighten.  He achieved both is a big way this day.  Thanks to all who participated.

The Heresy and the Ecstasy: Brooklyn Raga Massive Does “In C”


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This is heresy.  It is not, strictly speaking, faithful to the 1964 score and it is a sort of cultural appropriation which is actually the very basis of Brooklyn Raga Massive, a sort of latter day “Oregon” (to those who recall that band) which takes on all sorts of music and filters it through the unique lens of this flexibly populated group of musicians whose backgrounds range primarily from Hindustani and Carnatic traditions (though hardly in the most classical sense) but also from western classical and jazz.  Their “heresy” comes from their choices.  The root of heresy is the Greek word, “hairesis” which means choice.  There is a lovely selection of their musical heresies on their You Tube Channel.

No this is not purely heresy and it is certainly not blasphemy.  Quite the opposite actually.  And I would prefer to think of this effort as cultural integration.  The choices made here instead lead to some mighty ecstatic music making which pays honor to Terry Riley who turned 80 in 2015 and provides a unique perspective on this classic work.

“In C” (1964) is without doubt Riley’s best known work by far and the one which pretty much defined what would later become known for better or worse as “minimalism”.  It is an open score meaning that no instruments are specified for performance making this music heretical in nature as well.  In addition there is no conductor’s score as such.  Rather there are 53 melodic cells numbered 1 to 53 and the ensemble is held together by the expression of an 8th note pulse played by at least one of the musicians involved.  The defining reference on the intricacies of this work is composer/musicologist Robert Carl’s masterful book entitled simply, “In C”.  He describes the wide variety of potential choices which can be made in performance and the different results which can be achieved.

There are a great deal of recordings available of this work from the first (released 1968)  on Columbia’s “Music of Our Time” series curated by the insightful David Behrman to versions involving a wide variety of instrumental combinations of varying sizes.  The first “world music” version this writer has heard is the version for mostly percussion instruments by Africa Express titled, “In C Mali” (released in 2014).

Not surprisingly BRM, as they are known, have chosen a largely Hindustani/Carnatic take on this music.  The unprepared listener might easily mistake this for a traditional Indian music recording with the introduction which incorporates a raga scale and adheres to the traditional slow free rhythm improvisation of the introductory “alap” section common to such traditional or classical performances.

The familiar sound of these (largely) South Asian instruments with their rich harmonics sets the tone gently.  This writer has at best a perfunctory working knowledge of these complex and beautiful musical traditions but one must surmise that the choice of Raga Bihag may have some intended meaning.  Indeed such music is by definition integrated into the larger cosmology of Hinduism, the Vedas, the Gita, the Sanskrit language, and, no doubt other references.  This is not discussed in the brief liner notes but is worthy perhaps as a future interview question.

It appears that many of the musical decisions were made by sitarist Neel Murgai though it becomes clear as the performance develops that individual soloists are allowed wonderful improvisational freedoms at various points.  The recording is intelligently divided to let the listener know which set of melodic cells is being expressed at a given time.

The alap gives way to the sound of the tablas which initiate the pulse mentioned earlier.  The structure of this piece produces a range of musical experiences from a sort of didactic beginning to the swirling psychedelic waves of sound which stereotypically define much of the music born in the mid 1960s in this country.  In fact Terry Riley’s deep study of South Asian musics (most famously under vocalist Pandit Pran Nath) did not occur until later in his career.  Nonetheless there seems to have always been some affinity between Riley’s vision and the sort of music whose popularity was driven in the United States most famously by the efforts such as Pandit Ravi Shankar and Ustad Alla Rakha in the 1970s.

What follows is a riot of musical ecstasy involving some inspired improvisational riffs and some stunning vocalizations as well giving us a fascinating take on this music which was written well before these musicians came into the world.  We have a later generation paying homage to the beloved American composer and to the beautiful traditions of their own eclectic ethnic heritage.

The set concludes in this live and lively recording with a traditional fast paced Jhalla, the traditional ending to classical Indian musical performances. This will likely become known as the “Indian” recording of “In C” but it is so much more than that.  It is an homage.  It is a look back from the view of at least a couple of generations of artists.  And it is heresy in the best sense of that word, choices made judiciously to achieve higher artistic goals.  Not all art is heresy and not all heresy is art but the heresies perpetrated here definitely deserve our ears.

The heretics are: Neel Murgai, Sitar and Vocal; Arun Ramamurthy, Violin; Andrew Shantz, Vocal; Josh Geisler, Bansuri; Sameer Gupta, Tabla; Roshni Samlal, Tabla; Eric Fraser, Bansuri; Timothy Hill, vocal; Trina Basu, Violin; Ken Shoji, Violin; Kane Mathis, Oud; Adam Malouf, Cello; Michael Gam, Bass; Lauren Crump, Cajon; David Ellenbogen, Guitar; Max ZT, Hammered Dulcimer; Vin Scialla, Riq and Frame Drum; Aaron Shragge, Dragon Mouth Trumpet.

Namaste, folks.

 

 

 

 

Navigation Without Numbers: George Hurd and his ensemble


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The San Francisco Bay Area is a rich and varied musical scene with a plethora of talented and creative musicians.  Given that I am not surprised and perhaps just a touch chagrined to not have heard of George Hurd.  After a bit of research I learned that this is his debut album so I guess I feel better.

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George Hurd (promotional photo)

For an emerging composer he is well represented by his web page referenced above and another for the George Hurd Ensemble.  Like Philip Glass, Steve Reich and many others he is taking the composer/performer route which is certainly a better guarantee of getting one’s music performed and performed well.

Hurd is also a promoter of an interesting gaggle of other musicians and musical organizations as well and while this is his debut recording Hurd has a significant history of success and a composer, performer and arts administrator.

Now to the album at hand.  Navigation Without Numbers consists of 11 tracks of chamber music with electronics, electroacoustic music.  Each is an individual piece but they seem to create a unity and this listener’s experience was that of a soundtrack to a film yet to be made.  Indeed Hurd has written a few film scores as well.

The musicians are: Solenn Suguillon, violin; Jacob Hansen-Joseph, viola (and stomping); Erin Wang, cello; Ari Gorman, double bass; Elyse Weakley, piano; Annie Phillips, bass clarinet; Adam Murray, violin; Andrew  McGuire, vibes; Anton Estaniel, cello; Theresa Au-Stephen, violin; Jason Hallowed, viola; Anna Steinhoff, cello; Alana Grelyak, piano; Stephanie Wallace, harp; Katie Weigman, vibes; George Hurd, electronics with Anna Singer and Joseph Voves, stomping and clapping.  There is also an appearance by well known bay area violinist Carla Kihlstedt appearing on the fourth track.

There are no liner notes here so one is left only to one’s ear and heart to extract meaning and significance from these compositions.  To this writer’s ear it seems to be a combination of gypsy influence and jazz at times in a tonal context with an almost dance like feel at times.  This is not background music but it can be enjoyed with varying degrees of attention.  By that I mean that the music is assertive enough to be useless as Muzak which requires little attention and perhaps even none and that it benefits from closer attention and multiple hearings.  The overall experience is perhaps that of a good chamber group entertaining a knowledgeable clientele at a hip coffee shop.  Not your run of the mill classical, not exactly jazz but a very pleasant album.

 

Sound and Savor, a Phoenix Rises from Hallowed Ashes


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Chef and host Philip Gelb (right) presides as Mark Dresser (left) and Ben Goldberg (center) prepare to play at Sound and Savor

Last year I wrote an article (here) which lamented the demise of a bay area series which I have attended pretty regularly for the last several years.  Well the series is back and it has been renamed and reconstituted.  The West Oakland venue is the same and the ever creative chef has created another incarnation of one of my favorite reasons to be in the East Bay.  I greet the debut of Sound and Savor.

Another absolutely delicious multi-course vegan meal punctuated with a concert by some of the best musicians working today made for an experience that convinces this writer (and eater and listener) that Philip has taken his efforts to a new level.

soundsav5160001The beautiful as well as tasty culinary creations combined with some creative BYOB are as easy on the eyes as they are stimulating to the pallet.

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This meal, a revisioning of Passover featured Phil’s take on traditional Passover fare.

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These seemingly small portions combine to produce a very filling gustatory experience in which the break between the last course and dessert pausing for the musical interlude is a necessary part of the experience.

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And with this main course, featuring the delicious locally made Rhizocali Tempeh we paused to hear the guests for the evening.  Mark Dresser, sporting his beautiful new custom built double bass and Ben Goldberg.  These two musicians know each other but this is their first ever collaboration.  That is the kind of musical magic which accompanies the food on these events.

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Dresser and Goldberg kicked out some serious jams and also participated in some discussion of Passover and its meaning for them, a very personal touch.

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They played several pieces and did so with a passion and understanding that suggested they had been playing together for years.  I spoke with these genial men after their performance and only then did I learn they had never played together.

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Hand made waffle cones and vegan ice cream capped a spectacular evening.  Thank you, Phil.  Looking forward to more.

Other Minds 21, the Dawn of a New Chapter and the Raising of the Dead


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Charles Amirkhanian with the composers of OM 21

Much needed rain pummeled the city by the bay on all three days of OM 21 dampening, perhaps, some attendance but not the enthusiasm of the audience or the performers.  In most ways this concert was a continuation of the celebration begun last year commemorating 20 years of this festival.  Returning this year were Gavin Bryars (OM7) and Meredith Monk (OM1).

Until last year no composer had appeared more than once at this series.  For those unfamiliar with OM it is worth noting that the process has been for the 8-10 selected composers spend a week at the Djerassi Arts Center in Woodside, California sharing and discussing their work before coming to San Francisco for performances of their work.

As it turns out this year’s concert series will be the last to follow that format.  Apparently OM has become the victim of gentrification and has had to move out of its Valencia Street offices and will now opt for various concerts throughout the year as they have done but without the big three-day annual festival and the residency at Djerassi.

The archives of OM are now going to be housed at the University of California Santa Cruz where they will reside along with the Grateful Dead archives.  I do believe that Mr. Amirkhanian lived near Phil Lesh of the Grateful Dead when he lived in San Francisco some years ago so it seems fitting that these two archives will peacefully coexist in that space (also coming to UCSC will be OM 21 composer Larry Polansky though not in an archive).

This is certainly a change but this is a festival which has endured various changes in time and venue led throughout by the steady hand of the Bill Graham of contemporary music concerts, Charles Amirkhanian (both men have had a huge impact on music in the bay area as well as elsewhere and it is worth noting that the Contemporary Jewish Museum will have a tribute to Graham this year).

Actually Other Minds traces its provenance to the Telluride, Colorado Composer to Composer festival (also led by Amirkhanian) and later morphed into OM with the leadership of president (now emeritus) Jim Newman back in the early 1990s.  There is a short excellent film describing OM’s history on Vimeo here.

It is the end of a chapter but, as Amirkhanian explained, there are many exciting concerts coming up which will keep Other Minds in the earshot of the astute contemporary music aficionados on the west coast.  Next year, for example, will include several very exciting concerts celebrating the 100th birthday anniversary of beloved bay area composer Lou Harrison.

My apologies for the delay in posting which was due to both the richness of the experience and the exigencies of my day job and other responsibilities.  I hope that readers will find this post to have been worth the wait.

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Nordic Voices

Starting our rainy day were the extremely talented singers known as Nordic Voices.  Lasse Thoresen‘s Solbøn ( Sun Prayer) (2012) and Himmelske Fader (Heavenly Father) (2012) both required keen listening and required the use of extended vocal techniques such as multiphonics.  The singing appeared effortless and even fun for the ensemble but that speaks more to their expertise and preparedness than any ease in terms of the score.

It is always difficult to judge a composer’s work by only a small selection from their output  but Thoresen’s virtuosity and subtle use of vocal effects suggests a highly developed artist and it would seem worth one’s time to explore more of this gentleman’s oeuvre.

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Lasse Thoresen takes the stage to acknowledge the applause.

Next was an unusual, humorous/dramatic work by Cecile Ore called Dead Pope on Trial (2015/16) with a libretto by Bibbi Moslet.   This Other Minds commission was given its world premiere at this concert.  The work is based on the story of a medieval pope who was taken from his grave no fewer than six times for various perceived offenses.  It is a mix of irony and humor in a sort of madrigal context.  The work was in English and had the nature of a conversation between the singers.  No doubt a challenging piece, it was sung very well and the composer seemed as pleased with the performance as much as the audience.

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Cecile Ore smiling as she acknowledges the applause for the wonderful premiere performance of her new work, Dead Pope on Trial.

As if in a demonstration of sheer stamina in addition to virtuosity Nordic Voices took the stage again, this time for some Madrigals (2002/2016) by returning artist Gavin Bryars.  Bryars is no stranger to Other Minds or to madrigals and such older musical forms from the renaissance and before.  He has extensively explored vocal writing and medieval harmonies in many previous works.  Though categorized as being a “minimalist”, Bryars actually has produced a huge range of music in all forms including opera, chamber and orchestral music.

His madrigals have been written for the Hilliard Ensemble and each book is distinguished by the madrigals having been written on a specific day of the week.  The first book on Mondays, etc.  They are settings of Petrach’s sonnets and are sung in the original Italian of his day.  On this night we were treated to four madrigals from Book Two and the premiere of a madrigal from Book Four.  That madrigal was dedicated to Benjamin Amirkhanian, the father of Charles Amirkhanian who celebrates his 101st birthday this summer.

I had the opportunity to meet and speak briefly with the affable Mr. Bryars.  His generous spirit pervaded our conversation and he spoke very highly of both his visits to Other Minds.  If you don’t know this man’s music you are doing yourself a great disservice.

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A very pleased Gavin Bryars deflects the applause and adulation to the amazing Nordic Voices for their astounding performance of five of his madrigals.

The singers of Nordic Voices sustained a high level of virtuosity as well as sheer stamina as they sang for nearly two hours in the opening pieces of this concert series.  No time was lost setting the stage for the performance of the next piece, another premiere, Algebra of Need (2016) for electronic sampling and string quartet by Bang on a Can member Phil Kline.

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FLUX Quartet playing at SF Jazz, 2016

The Flux Quartet was featured in the next two (and last) works on this long program.  Algebra of Need is Kline’s meditation on the words and the cadences of the iconic writing and voice of the late William S. Burroughs (gone 19 years as of this writing).  The familiar voice seemed to go in and out of clearly audible, at times mixed more closely with the string writing in this intense homage.

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A satisfied looking Phil Kline leans in to embrace the first violin of the Flux Quartet after their premiere of his Algebra of Need.

The Bang on a Can collective was also represented tonight by Michael Gordon.  The Sad Park (2008) for string quartet and electronics put a most decidedly disturbing conclusion on the evening.  This piece, which samples the voices of children (one of them Gordon’s) as they spoke of their experience of the 9/11 Twin Towers attacks.

The effect was, as no doubt intended, harrowing leaving a pretty strange and unsettling feeling as we walked away from the concert into the still rainy night.

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Michael Gordon embraces the FLUX Quartet’s first violin after a stunning performance of The Sad Park.

The rain continued on Saturday but the crowd was noticeably larger for the second night which opened with the usual panel discussion.

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left to right: Meredith Monk, John Oswald, Nicole Lizee, Eliot Simpson, Larry Polansky, Oliver Lake and Charles Amirkhanian in a panel discussion prior to the concert

This evening began with a performance by the wonderful bay area violinist Kate Stenberg of a piece which was a sort of antidote to the somber, The Sad Park from the previous night.  Again the composer was Michael Gordon and the piece was Light is Calling (2004), a collaboration with filmmaker Bill Morrison.  Though hardly a happy piece Light is Calling is perhaps elegiac and the composer seems to achieve some of his stated intent to find some healing in the wake of a disaster to which he was all too close.

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Kate Stenberg plays violin beneath the projection of a Bill Morrison film in Michael Gordon’s, Light is Calling

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Michael Gordon and Kate Stenberg accepting the applause of an appreciative audience.

Next up was John Oswald, a Canadian composer whose career took off in infamy when his Plunderphonic CD, released to radio stations in the early 1980s, became the subject of legal battles over the meaning of copyright law in light of digital sampling.  Fortunately Oswald won the right to publish his work and his Plundrphonics concepts now underlie much of his compositional process.  Until this night I had not heard any but his Plunderphonic CDs so the introduction to his live music was a revelation.

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Pianist and (at least here) multi-instrumentalist Eve Egoyan performing with a Yamaha Disklavier and other instruments.

The first piece she did was called Homonymy (1998/2015) was originally written for chamber orchestra and was then transcribed for Egoyan and her prepared disklavier et al.  It is a piece based on linguistic elements and with a visual component as well.

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Eve Egoyan performing Homonymy with overhead projections.

Nicole Lizee’s David Lynch Etudes (2015) was the next piece  and also made use of the projection screen.  The subtitle of the piece indicates it is for “disklavier and glitch”.  Well life imitated art as some sort of glitch prevented the projection from functioning at first but this was rather quickly resolved and we were treated to excerpts of scenes from several David Lynch films with the piano playing some of the rhythms of the dialog in an exchange that puts this writer in the mind of music like Scott Johnson’s “John Somebody” and Steve Reich’s incorporation of speech rhythms in works like, “The Cave”.

Nicole Lizee is a Canadian composer and was the youngest composer on this year’s program.

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Eve Egoyan playing Nicole Lizee’s David Lynch Etudes with projected scenes/glitches from Lynch’s films.

The work is one of a series of pieces inspired by films and was executed with apparent ease by pianist Eve Egoyan who played the disklavier (both the keyboard and directly on the strings), a guitar and perhaps other gadgets .  The piece kept her quite busy and the associations I described above sound nothing like this work actually.  These etudes were a unique, typically Other Minds sort of experience, one that expands the definition of musical composition.

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Nicole Lizee (l) with Eve Egoyan absorbing the audience’s appreciation of the David Lynch Etudes.

Two more John Oswald compositions graced the program next.  Palimpia (2016) is a six movement piece for disklavier with pianist playing as well.  Oswald says it is actually his first composition for piano.

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John Oswald embracing pianist Egoyan and enjoying the audience applause for his work.

Well I did say there were two more Oswald pieces but this last one was a masterful plunder by this truly unusual composer.  Here Oswald conjured the playing as well as the image of the late great Glenn Gould who was seen actually playing Invaria (1999) with the disklavier performing along with the film of Gould performing this music.  It was, for this writer, a spellbinding experience.  He has raised the dead in the name of music.  Wow!  It was an amazing and heartfelt homage to a fellow great Canadian musician.

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Glenn Gould playing John Oswald

Larry Polansky (1954- ) is well known as a teacher and as a composer but one is hard pressed to find much in the conventional discography of his work.  The few discs out of his amazing electronic music (and one disc of piano variations) represent only a small fraction of his output and represent only one genre of music which he has mastered.  However the astute listener needs to be advised to look online to look, listen and hear some of the bounty of his creative output.  Check out the following sites: Frog Peak Music (Polansky’s publishing site which includes music and scores by a great many interesting composer in addition to himself and Dartmouth Page (which contains link to various recordings, writings, computer software, etc.

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Giacomo Fiore (left) and Larry Polansky playing Polansky’s ii-v-i (1997)

As an amateur musician who has enough trouble simply tuning a guitar it made my knees weak to watch these musicians effortlessly retune as they played.   Polansky’s experimentation with alternate tunings is an essential part of many of his compositions.

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Fiore and Polansky changing their tunings mid-phrase in a stunning demonstration of virtuosity with pitch changes.

The program then moved from the electric to the acoustic realm with Polansky’s folk song arrangements.  Eliot Simpson, the pedagogical progeny of the great David Tanenbaum (who played these concerts last year at OM 20), played the just intonation National Steel Guitar and sang.

Let me say just two things here.  First, these are not arrangements like Copland’s Old American Songs and second, I will never hear these folk songs quite the same way again.  Polansky’s interest in folk music and Hebrew cantillation along with alternate tunings produces what the ears hear as perhaps a different focus.  In these pieces he did not stray too far from the original (as he does in his Cantillation Studies) but one is left with distinctly different ways of hearing and thinking about this music and the listener is left richer for that.  It is a journey worth taking and Simpson played with both passion and command.

Eliot Simpson playing a selection of Larry Plansky's Songs and Toods

Eliot Simpson playing a selection of Larry Plansky’s Songs and Toods

Polansky returned to the stage for a performance of his 34 Chords (Christian Wolff in Hanover and Royalton) (1995). Again we were treated to the virtuosic use of alternate tunings performed live (and again with live re-tunings) by the composer.

Oliver Lake delivering a blistering free jazz improvisation.

Oliver Lake delivering a blistering free jazz improvisation.

Continuing with the solo performer theme we were privileged to hear the virtuosic jams of Oliver Lake (1942- ) whose long career is legendary in the jazz world.  The “mostly improvised” (according to the composer) Stick was played on two different saxophones in what appeared to be as intense an experience for the performer as it was for the audience.

Oliver Lake takes a final bow at the end of the second concert of OM 21

Oliver Lake takes a final bow at the end of the second concert of OM 21

The emotional workout was received warmly by the audience.

Charles Amirkhanian introduces Meredith Monk on the final day of OM 21

Charles Amirkhanian introduces Meredith Monk on the final day of OM 21

There was no panel discussion on the third day of OM 21.  This matinée was dedicated entirely to the work of Meredith Monk (1942) who, fittingly was one of the featured artists in the first Other Minds gathering in 1993.  Now a recipient of the National Medal of the Arts this beloved artist returns to OM 21.  Though the rain continued the house appeared to be full.

Meredith Monk playing a Jaw Harp in one of her early solo songs.

Meredith Monk playing a Jaw Harp and singing in one of her early solo songs.

Monk played a selection of material from various periods in her career in a mostly chronological survey which she called The Soul’s Messenger.  She began with selections from her solo songs and proceeded to her voice and piano music, then to her work with multiple voices and instruments.

Meredith Monk performing her signature Gotham Lullaby

Meredith Monk performing her signature Gotham Lullaby

Most of the audience seemed to have a comfortable familiarity with the individual works she offered on this night which effectively gave a picture of her career.  Monk was in good voice and appeared to enjoy her performance.

Long time collaborator Katie Geissinger and Allson Sniffin joined in the next selection

Long time collaborator Katie Geissinger and Allson Sniffin joined in the next selection

The stage was set to allow for the dance/movement that is an essential part of Monk’s works.  She originally trained as a dancer.

Monk and long time collaborator Katie Geissinger reacting to the appreciative audience

Monk and long time collaborator Katie Geissinger reacting to the appreciative audience

In addition to the grand piano the stage was set with two electronic keyboards, an essential sound in many of Monk’s works.

Monk at one of the electronic keyboards

Monk at one of the electronic keyboards

Woodwind player Bodhan Hilash joined the ensemble for the last set of pieces.

From left: Bodhan Hilash, Meredith Monk, Allison Sniffin and Katie Geissinger

From left: Bodhan Hilash, Meredith Monk, Allison Sniffin and Katie Geissinger

The audience gave a standing ovation at the end resulting in 3 curtain calls.

Left to right Allison Sniffin, Meredith Monk, Katie Geissinger and Bodhan Hilash receiving a standing ovation.

Left to right Allison Sniffin, Meredith Monk, Katie Geissinger and Bodhan Hilash receiving a standing ovation.

And the properly prepared artist came back for an encore of her song Details.

Meredith Monk performing an encore at the final concert of OM 21

Meredith Monk performing an encore at the final concert of OM 21

 

It was a fitting finale to a great OM 21, fitting to have this artist who appeared on the first iteration of Other Minds returning now crowned with a National Medal of the Arts and clearly beloved by the audience.  Her music like her lovely smile fade to the edge of memory like that of the Cheshire Cat on a truly triumphant finale.

And, despite some format changes, who knows what treasures continue to lie in store?  I will be watching/listening and so, apparently will many others.  Keep an eye on www.otherminds.org .  I know I will.

 

The Varieties of E#, a new Elliott Sharp Release on Starkland


Elliott Sharp

Elliott Sharp

I think the first time I heard of Elliott Sharp was when a friend played a vinyl copy of 1988s Larynx. I later got hooked on the delightfully noisy string quartets of 1987s Hammer, Anvil, Stirrup. With 89 albums to his credit (according to discogs.com) Sharp writes and plays music in a range of styles and for a range of ensembles.

Only two years older than John Zorn their musical paths are similar in that they both learned multiple instruments as children. While they are both incredibly creative, intelligent and productive artists, Sharp initially took a more traditionally academic path while Zorn is largely self taught (an amazing feat in itself).

Sharp studied music, anthropology, improvisation and electronic music with teachers like Benjamin Boretz, Roswell Rudd, Morton Feldman and Lejaren Hiller. His music frequently uses Fibonacci numbers, fractals, chaos theory and genetic metaphors. His collaborators have included blues guitarist Hubert Sumlin, Qawalli singer Nusret Fateh Ali Khan (and many others) and practically a who’s who of the Downtown New York scene.

He produced the Nonesuch album of Ornette Coleman covers by John Zorn (Spy vs. Spy, 1988) which is definitely worth a listen. It is one of a series of such recordings of covers of various artists which have also included Ennio Morricone among others.

The present recording comprises works written between 2004-2008 and, like the previous release of music by Martin Bresnick (reviewed previously in this blog here), comprises a sort of snapshot of the composer’s recent work. Like the Bresnick disc this recording samples Sharp’s writing for a variety of ensembles and is an effective portrait of his mature style.

As a long-standing performer in the New York downtown scene Sharp experimented with a variety of compositional and  instrumental techniques consistent with his scientific interests.  Now such experimentation by itself is of little interest except on a theoretical level but what we hear in the works in this recording is a composer who has integrated these techniques into a sound that is pretty uniquely identifiable as Elliott Sharp much as J.S. Bach’s techniques are easily recognizable in identifying that composer.

The first work (and the one that lends its title to the album) is The Boreal (2008).  It is the most recent of the compositions and is another chapter in Sharp’s reinvention of string quartet writing.  Written for the noted JACK quartet, it involves the use of different types of non-traditional bows fashioned by the composer and creates sounds full of harmonics. It is probably unlike any string quartet music you have ever heard and it expands the notion of what that traditional classical ensemble can do.  The recording, though recorded live at the Ostrava Festival, is remarkably free of ambient noise which allows the listener to hear the subtleties of the rather wide dynamic range to be heard without the interference.  The work resides in more or less the same sound world as his other quartets and its four movements seem to follow logically creating a conceptual whole as with any of the more conventional quartets in the repertory.

Jenny Lin

Jenny Lin

The second work, Oligosono (2004) is for solo piano.  As the liner notes tell us it is Sharp’s application of extended instrumental techniques which he developed on his guitars to the piano (a pretty interesting accomplishment).  It is written for and played by the wonderful Jenny Lin who navigates the inside of the piano as well as the keyboard in some rhythmically complex and virtuosic playing.  She executes the three movements with seeming ease.

Paul Erdös "Erdos head budapest fall 1992" by Topsy Kretts - Own work. Licensed under CC BY 3.0 via Commons - https://commons.wikimedia.org/wiki/File:Erdos_head_budapest_fall_1992.jpg#/media/File:Erdos_head_budapest_fall_1992.jpg

Paul Erdös

Now we come to the composer’s work for larger ensembles.  Proof of Erdös (2006) is named for the mathematician Paul Erdös (1913-1996) perhaps most famous for the Erdös Number which is an indicator of the degree of separation a given person has with another (Erdös’ number would be a zero and his direct collaborators would be a one.  I’m guessing my Erdös Number with regard to Mr. Sharp would probably be at best a three for having reviewed this album).

Proof of Erdös is a four movement work written for Orchestra Carbon (one of Sharp’s various ensembles) and it is ably conducted by the American composer/conductor David Bloom.  It is a studio recording.  The work shares some of the sound world of the last piece on the album but the ensemble is more of a chamber group than the full orchestra but produces a similarly large and complex sonic image.

On Corlear’s Hook (2007) is a work for full orchestra and, for this reviewer, it is a great opportunity to hear Sharp’s ability to write for large orchestra.  It’s title is taken from a the lower east side neighborhood in Manhattan where Sharp resided with his family.  As the composer says in the notes there is no attempt to be programmatic or pictorial that the music is, “a reflection of the spectra of my existence (there) from one frequency band to another”.

The performance by the fine Janacek Philharmonic is conducted by the German conductor Peter Rundel (1958- ). Rundel, whose credits include a Grand Prix du Disque for his recording of the works of Jean Barraque (1928-1973), delivers a convincing performance of this tour de force.  The four movements, reflecting Sharp’s “spectra” coalesce to a unity which suggests that this piece could easily be called “symphony” if one wanted to use that apparently dated term.  The audience seems attentive or at least respectfully quiet which makes for a pretty definitive recording.

A great debt is acknowledged here to the fine work of the Ostrava Days festival under the guidance of Petr Kotik (1942- ) for curating this amazing annual new music event.  There are very useful liner notes by legendary boundary defying cellist (and sometime Sharp collaborator) Frances-Marie Uitti.   Sharp himself provides notes in the accompanying booklet. As usual with Starkland the recording is of very high quality and Tom Steenland’s gift for graphic design (using an 1888 photo of electrical “effluvia” from the surface of a coin) is well suited to represent the contents of the recording.

The Boreal Starkland ST-222

The Boreal
Starkland ST-222

Like many of Starkland’s releases this album challenges the listener but meeting that challenge and giving this a serious listen is ultimately very rewarding.  This is a fine example of a composer whose work deserves to be better known and this is a good sampling of some of his most refined work.  Hopefully this release will help to position Sharp as a composer with roots in the downtown improv scene who has taken his experimentation successfully into the larger world of the contemporary classical scene.

 

Classical Jazz, John Clark and His Odd Couple Quintet + 1


The Odd Couple Quintet

The Odd Couple Quintet

The French Horn and the Bassoon are two instruments seldom associated with jazz and improvisation.  Enter John Clark and Michael Rabinowitz who, along with their fellow musicians put together this playful and entertaining album.  Clark, born in 1966, studied at the University of Rochester, Eastman School of Music and the New England Conservatory.  He studied under George Russell and Ran Blake.  Currently he is on faculty at the Manhattan School of Music.

Composers Concordance 0022

Composers Concordance 0022

clark2Beginning playfully and appropriately with their arrangement of Neal Hefti’s theme from the movie The Odd Couple. From there the group traverses through various classical music pieces always with their unique jazz inflections.

This disc contains 8 tracks and is consistently pleasant, inventive and entertaining.  Clark, whose discography lists 18 albums on Wikipedia, has worked as a session musician and has recorded with people like B.B. King, Leroy Jenkins, Linda Ronstadt, Ornette Coleman and many others.

Building on work by folks like Jacques Loussier, Clark’s group basically traverses classical pieces with a jazz tinge.  All compositions, with the exception of the Odd Couple Theme are listed as being by John Clark but alert listeners (or those who read the lucid liner notes) will identify the original sources on which these compositions are based.

In addition to the two named principals they are supported by Freddie Bryant on guitar, Mark Egan on bass, Able Fogle on drums and Pete Levin on keyboards.

The last track is perhaps the most complex of the set and ties the album together with a fitting conclusion.  All in all this album is a lot of fun for fans of both classical and jazz.

End of an Era and a Summation: In the Mood for Food Dinner/Concert Series


Philip Gelb performing at the June 21, 2015 Garden of Memory Concert at Oakland's Chapel of the Chimes.

Philip Gelb performing at the June 21, 2015 Garden of Memory Concert at Oakland’s Chapel of the Chimes.

For a variety of reasons I have not been able to spend any time with this blog for the last month or two but recent events tell me that I must find the time to get back online and publish.  My apologies to all who are awaiting reviews and such.  They will now be forthcoming.

This past Saturday night June 27, 2015 is among the last of this East Bay series which has been with us for the last 10 years.  Philip Gelb, vegan chef extraordinaire, shakuhachi player and teacher has announced that he will be relocating to New York in the next few months.

I personally discovered this series shortly after I moved to the bay area.  In a nondescript West Oakland neighborhood in a modest loft live/work space I found a vegan dinner which also featured a performance by Bay Area composer/performer Pamela Z.  One concert/dinner and I was hooked.   The opportunity to meet and hear many wonderful musicians and enjoy the amazing culinary magic was just too much to resist.  I have been a regular attendee at many of these concerts and they all are valued memories.

Philip Gelb with Joelle Leandre at one of his dinner/concerts.

Philip Gelb with Joelle Leandre at one of his dinner/concerts.

Phil, who studied music, ethnomusicology and shakuhachi has been a familiar performer in the Bay Area.  In addition to performing and teaching the Japanese bamboo flute, Phil has run a vegan catering business and began this series some ten years ago modeled on a creative music series founded in part by the late Sam Rivers.  As a musician Phil has gotten to know many talented and creative musicians who performed on his series.  Phil is a friendly, unpretentious man with great talents which he successfully combined here.

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Phil and sous chef Cori preparing the evening’s feast.

The 20 seats were sold out for the annual Masumoto Peach dinner.  At the peak of the harvest each year Phil has put together multiple course dinners featuring locally grown organic peaches from the now four generation Masumoto family orchard near Fresno .  In fact a recent film (information on the Masumoto page linked above) has been made about them called, “Changing Seasons” and one of the filmmakers was in attendance.  There was a short discussion with Q and A at one point.

Happy diners anticipating the next course.

Happy diners anticipating the next course.

No music this night but wonderful food and friendly conversations filled the evening.  The meal began with, of course, a taste of the actual peaches.

sous chef Cori serving the peach halves that began the dinner.

sous chef Cori serving the peach halves that began the dinner.

The next course, a peach tomato gazpacho.

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Followed by a grilled peach salad with cashew cheese balls, arugula radicchio,, pickled red onions, and a cherry balsamic dressing.

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Oh, yes, a nice Chimay to quench the thirst.

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And then tempeh char siu wontons (from the local Rhizocali Tempeh), flat tofu noodles, a really great hot peach mustard and peach sweet and sour sauce.

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The main course: peach grilled seitan, peach barbecue sauce, roasted corn and peppers, and some crunchy fried okra.

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And, for dessert, peach rosewater cake with peach walnut sorbet.  As is his custom Phil went around offering more of that sorbet which most folks, present writer  included, availed themselves.

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This was a thoroughly enjoyable evening.

But, as I said, this tradition is coming to an end.  Not to fear, however.  Phil is in the process of writing a cookbook sharing the secrets of his culinary mastery and the book will also document some of the many musicians whose talents graced many an evening here.

La Donna Smith and India Cooke playing an improvised duet.

La Donna Smith and India Cooke playing an improvised duet.

Bassists Mark Dresser and Barre Phillips play together for the first time at In the Mood for Food.

Bassists Mark Dresser and Barre Phillips play together for the first time at In the Mood for Food.

The amazing Stuart Dempster at Phil's loft a few years ago.

The amazing Stuart Dempster at Phil’s loft a few years ago.

Gyan Riley, Terry Riley and Loren Rush attending the dinner/concert which featured Stuart Dempster.

Gyan Riley, Terry Riley and Loren Rush attending the dinner/concert which featured Stuart Dempster.

Pauline Oliveros and her partner Ione performing at a recent dinner.

Pauline Oliveros and her partner Ione performing at a recent dinner.

So this little sampling of photos provides some idea of the scope and significance of this series.  Happily it is being documented in a book for which an Indiegogo campaign is presently in process.  You can donate and receive any or many of a variety of perks ranging from a copy of the book for $40 and perks including an invitation to celebratory dinners planned in both New York and Oakland.  My copy and my dinner invite are reserved.

There are 34 days left in the campaign at the time of this writing and the project is now at 106% of its funding goal.  This is a piece of Bay Area music and culinary history that will please music enthusiasts and those who appreciate creative vegan cuisine.

Here is a list of musicians taken from the campaign site to give you an idea of the scope of the series:

Tim Berne – alto saxophone (Brooklyn)

Shay Black – voice, guitar (Berkeley via Ireland)

Cornelius Boots shakuhachi/bass clarinet

Monique Buzzarte – trombone, electronics (NYC)

Chris Caswell (2) – harp (Berkeley)

Stuart Dempster – trombone (Seattle)

Robert Dick (flute) NYC

Mark Dresser (2) – bass (Los Angeles)

Mark Dresser/Jen Shyu duet – bass, voice/dance

Sinan Erdemsel – oud (Istanbul)

Sinan Erdemsel/ Sami Shumay duet – oud, violin

Gianni Gebbia – saxophones (Palermo, Italy)

Vinny Golia- winds (Los Angeles)

Lori Goldston – cello (Seattle)

Frank Gratkowski (2) – clarinets, alto sax (Berlin)

Daniel Hoffman/Jeanette Lewicki duet violin, voice/accordion (Berkeley, Tel Aviv)

Shoko Hikage – koto (Japan-San Francisco)

Yang Jing – pipa (Beijing)

Kaoru Kakizakai (4) – shakuhachi (Tokyo)

Marco Lienhard shakuhachi (Zurich-NYC)

Mari Kimura – violin, electronics (Tokyo-NYC)

Yoshio Kurahashi (5) – shakuhachi (Kyoto)

Joelle Leandre – contrabass (Paris)

Oliver Lake – alto sax (NYC)

Riley Lee (2) shakuhachi (Australia)

Jie Ma – pipa (China, LA)

Thollem Mcdonas Jon Raskin duet piano/sax (wanderer/Berkeley)

Roscoe Mitchell – alto, soprano saxophones (Oakland)

David Murray – tenor sax (Paris)

Michael Manring (5) – electric bass (Oakland)

Hafez Modirzadeh – winds (San Jose)

John Kaizan Neptune – shakuhachi (Japan)

Rich O’Donnell – percussion (St. Louis)

Pauline Oliveros (2) – accordion (NY)

Tim Perkis/John Bischoff duet computers (Berkeley)

Barre Phillips solo and duet with Mark Dresser – contrabass (France)

Alcvin Ramos shakuhachi (Vancouver)

Tim Rayborn/Annette duet oud, strings, recorders (Berkeley/Germany)

Jon Raskin/Liz Albee duet sax/trumpet (Berkeley/Berlin)

Jane Rigler – flute (Colorado)

Gyan Riley (5) – guitar (NYC)

Terry Riley (2) – voice, harmonium (universe)

Diana Rowan (2) – harp (Berkeley/Ireland)

Bon Singer/Shira Kammen duet (voice, violin) (Berkeley)

LaDonna Smith/India Cooke duet (2) violin, viola (Birmingham, AL, Oakland)

Lily Storm/Diana Rowan – voice, harp (Oakland/Ireland)

Lily Storm/Dan Cantrell (2) – voice/accordion (Oakland)

Howard Wiley – tenor Saxophone solo and duet with Faye Carol voice

Theresa Wong/ Ellen Fullman duet

Amy X (3) – voice, electronics (Oakland)

Pamela Z – voice, electronics (San Francisco)

Philip Gelb’s Gourmet Vegan with Joelle Leandre in the East Bay


The door is open to the underground restaurant.

The door is open to the underground restaurant.

On Sunday February 15th I had the pleasure of attending one of my favorite underground restaurant/performance venues in West Oakland.  In a nondescript neighborhood of light industry, warehouses and loft spaces Philip Gelb has been running “In the Mood for Food” (a take of the title of one of his favorite films, “In the Mood for Love”) his occasional dinner/concert series since 2005.

Philip Gelb with Joelle Leandre

Philip Gelb with Joelle Leandre

Philip is an amazing vegan chef as well as a shakuhachi player/teacher whose cuisine is known to a fortunate group of people which includes this writer.  Combining incredibly creative dishes sometimes at the behest of a given artist (Amy X Neuberg requested a “purple” theme and got it when she appeared ) with his wide network of artist friends, many of whom he has performed with.  Phil has been doing these occasional events with a maximum audience of about 20 people (including the featured performer) at a rate of at least once every month or two.

Potato Sorrel Soup

Potato Sorrel Soup

First let me say that I am not a vegan but if vegan fare always tasted this good I could easily make the transition (OK, I would have a hard time giving up pizza) to vegan fare.  Phil’s fresh locally shopped ingredients are transformed by his gustatory alchemy into a variety of delectable dishes in a wide range of cuisines.  His network in gourmet vegan food practitioners is rivaled only by his musical network.  Japanese is one of his specialties but I have personally partaken of various middle eastern and Caribbean cuisines with equal satisfaction.

Mushroom Pate, Carrot Walnut Pate and Rosemary Bread, didn't get a picture of the fresh salad greens.

Mushroom Pate, Carrot Walnut Pate and Rosemary Bread, didn’t get a picture of the fresh salad greens.

This night’s selection featured a creamy Potato Sorrel Soup followed by a salad plate consisting of rich Mushroom Pate, Carrot Walnut Pate, a freshly baked Homemade Rosemary Bread with Salad Greens and a tart Citrus Dressing. The main course consisted of Cassoulet, Oat Pilaf and Herbed Collards, all very tasty and very filling.

The main course of Cassoulet, Oat Pilaf and Herbed Collards.  It tastes even better than it looks in Phil's characteristically beautiful presentations, trust me.

The main course of Cassoulet, Oat Pilaf and Herbed Collards. It tastes even better than it looks in Phil’s characteristically beautiful presentations, trust me.

A feast such as this could not easily be upstaged but, in the little break before the dessert course, we were treated to a wonderful performance by Joëlle Léandre, the French Double Bass virtuoso, singer and composer whose work traverses a wide range of musical genre from John Cage to free jazz and categories that defy easy classification.  She has amassed a discography of over 100 albums to date and has performed with artists including Pierre Boulez, John Cage, Giacinto Scelsi, Derek Bailey, Barre Phillips (who appeared at this series a couple of years ago), Anthony Braxton, George Lewis, India Cooke (also one of Phil’s previous guest artists), Evan Parker, Irene Schweizer, Steve Lacy, Maggie Nicols, Fred Frith, Carlos Zingaro, John Zorn, Susie Ibarra, J.D. Parran, Kevin Norton, Sylvie Courvoisier and Pauline Oliveros (another recently appearing artist at this series).  Oh, and she has also performed and recorded with Mr. Gelb.

Leandre is a friendly and engaging person both in her playing and in conversation and we all had opportunities to speak with her and experience her charming personality as she related various observations and anecdotes.  These dinner/concerts are a uniquely intimate experience which you cannot get in the average concert setting.

Leandre embraced and nearly danced with her instrument.

Leandre embraced and nearly danced with her instrument.

Ms. Léandre treated us with three separate improvisations in which she demonstrated her facility with a wide range of double bass techniques including various bowing techniques, pizzicati, percussive techniques and wordless vocals that mixed seamlessly with her very intense and passionate performances.  Unfortunately it is nearly impossible to really describe with any accuracy the music we experienced this night.  But suffice it to say that it was played in a manner that communicated very effectively with the very appreciative audience.  I asked her if she always plays with such passion and she rather matter of factly simply said, “yes”.

Her command of a wide variety of playing techniques blended together with her voice in an almost orchestral sound  tapestry driven by Joelle's passionate playing.

Her command of a wide variety of playing techniques blended together with her voice in an almost orchestral sound tapestry driven by Joelle’s passionate playing.

I was so taken with the performances that I failed to get a photo of the delicious dessert course which consisted of a Waffle Sundae comprised of a very fresh chocolate-buckwheat waffle covered with chocolate pistachio ice cream, maple walnuts and chocolate port sauce.  An amazing vegan sweet treat enjoyed by all.

The clearly happy audience lingered to talk with each other, with Phil and sous chef Cori as well as with Ms. Leandre who had a great selection of recent CDs and a couple of books available for purchase which she graciously signed.  Overall this was an extremely satisfying evening, certainly for this blogger and clearly for the other guests but also for our wonderful performer who left to get some sleep before her scheduled performances tomorrow at the Berkeley Arts Festival.

The performer pauses looking wistfully as the muse descends upon her.

The performer pauses looking wistfully as the muse descends upon her.

 

 

Blackness, Race and Music, What I Have Learned So Far


Two years ago, when I was just at the start of my blogging adventures, I decided it would be a good idea to do a few articles in honor of Black History Month. I am not black and I have no expertise in the area of black music but, in keeping with the personal perspective of this blog, I decided that my interest in these subjects is sufficient reason to express some opinions and ideas.  I chose Carl van Vechten’s portrait of William Grant Still, considered by many to the first major black composer to receive recognition in the 20th Century as my symbol for this article.  Much of his music remains unknown and little performed though there have been some significant recordings released in the last few years.

I called that first set of articles “Black Classical”. Curiously my brief article on black conductors has been one of my most read pieces (947  views as of the time I write these words).   So I continued to write on this subject in the following year. For my second set of articles I took the opportunity to look at the 50 year anniversary of the Civil Rights Act of 1964, by all measures a landmark piece of legislation. I asked a question, in part rhetorical because I had a basic idea of the answers I expected, but also to elicit opinions and to discuss issues of race and music.

I sent queries to a random set of composers and conductors and received a few very gracious replies. Comments ranged from carefully worded egalitarian musings on how black music and music by other racial minorities should be integrated and heard throughout the concert seasons to seemingly careful statements suggesting that this might not even be the right question or that it shouldn’t be asked. Not all comments were published but I am grateful to all who replied. And I have been able to continue this discussion in the various groups on Facebook.

I learned in a (yet to be published) interview with Anthony Davis some fascinating perspectives. Professor Davis did not address my question as I originally asked but he provided some valuable food for thought. It is worth noting that Davis is a composer whose politics are frequently very much in evidence in his music. In a discussion of the current state of music he commented regarding John Cage‘s apolitical stance by saying that, “John Cage’s silence is the silence of white privilege.” One could argue that taking an apolitical stance may have contributed to Cage’s ability to get grants and commissions.  Politically charged music generally does not fare as well.

In general I found more or less what I expected. The Civil Rights Act of 1964 has had little, if any, benefit for black musicians and composers. And given the ongoing killing of unarmed black men by police one must wonder if we have been going backwards as a society. But I don’t want to do a grand social critique here. That is a subject for another blog and is a bit outside of my scope at least for now.

I found some musicians who did not want to address racial and discriminatory issues. It seems the issue is too “hot” and that one could face consequences for even asking the question. And some did not feel sufficiently well-versed in Civil Rights history to make a truly informed assessment of this issues.  Perhaps it is a form of white privilege that allows me to ask such a question. We shall see if any reactions result in verbal attacks or (not likely I think) in a reduction in my readership.

What I have learned is that black classical musicians (who are not in short supply) occupy very few prominent positions in academia, in the public sphere of conductors and performers and in the representation in recorded performances of what is a rich but virtually untapped repertoire.  The inequality remains with perhaps some progress but not enough to pronounce the issues here as resolved to a truly significant degree.  But there is a vibrant community of black musicians who are working as did their predecessors to contribute to our collective culture and the discussions are both lively and stimulating.

In 2014 there was a performance by the Cincinnati Symphony of an Oratorio, “The Ordering of Moses” (1937) by R. Nathaniel Dett. The premiere performance of the piece (a beautiful and listener friendly piece of music) was broadcast live. But that broadcast was truncated, leaving out the finale when white listeners complained about music by a black composer getting so much airtime. Happily the entire piece was broadcast uninterrupted and made available in streaming format. However there is no commercial recording of this grand biblical choral work.

I was pleased to be able to review the fully staged performance in May, 2014 of Zenobia Powell Perry‘s opera Tawawa House (1984) in the unlikely venue of Modesto, California by Townsend Opera.  It was a heartfelt and beautiful production and was reviewed here.

Another interesting event in 2014 was the first appearance of three black counter tenors in a performance of a Purcell Opera in Los Angeles.  My blog on this subject can be found here.  I was pleased to make the acquaintance of Mr. Bill Doggett who has been very helpful in keeping me up on the latest developments with black musicians and composers and was the person who alerted me to this historic event.

Coming up in March at the Other Minds festival there will be performances by Errollyn Wallen and Don Byron.

I have been able to dialog with various black musicians on Facebook most notably through the groups Black Composers, The National Association of Negro Composers and Opera Noir.  Composer, performer and conductor Anthony R. Green is posting the name of a black composer every day for the month of February with examples of their work.

Some recent films have done much to tell the very unpretty history of black people in the United States including: 12 Years a Slave (2013), after Solomon Northrup‘s harrowing memoir,  Fruitvale Station (2013), a retelling of the execution style shooting of Oscar Grant at the hands of police in Oakland, California, Selma (2014), a dramatization of the 1965 march in support of voting rights (musical direction by Jason Moran).  And this trend, happily, seems to be on the rise providing artistic historical narratives to aid in the processing of the complex, shameful and painful histories depicted.  The lack of recognition by the motion picture industry supports my arguments for the poor representation and acknowledgement of black artists in general.

I have to mention that the wonderful set of recordings by Paul Freeman originally released on Columbia records remains available as a boxed set of 9 vinyl records with notes from the College Music Society now being offered at only $17.50 (that is not a typo either) via mail order.  I’m going to buy a couple of extra copies to give away as gifts.  It’s a really nice set.

Perhaps the most useful thing I learned is the egalitarian approach by conductor Michael Morgan who stated his desire that music by ethnic groups be integrated into programming on a regular basis rather than being highlighted in a given month.  (I am pleased to report that maestro Morgan will be receiving an award for his service to new music from the American Composers Forum.)  I am now using that approach with this blog in which I will continue to highlight the work of musicians and other artists whose work I find interesting and worth promoting.  So please stay tuned.

 

 

My 2014, a Summation and (sort of) “Best of…” List


The stage at Kanbar Hall stands ready to receive performers on opening night of OM 18

The stage at Kanbar Hall stands ready to receive performers on opening night of OM 18

As New Music Buff heads on into its fourth year in the online realm I find that I have a steadily increasing readership averaging 18 hits per day with an international reach of about 88 countries. I say readers, not followers because the stats provided have no way to track returning visitors but you know who you are.  And I thank WordPress for their entertaining summary published earlier here.

 

Last year I provided a list of my greatest hits (i.e. my most read articles in 2013) so here is a list of 2014’s top ten:

Black Classical Conductors (Black Classical Part Two)
This is a 2013 article which continues to be popular. I did an addendum called: Black Conductors, A Belated Addendum  and received a note from Tania Leon who remarked quite correctly that she is indeed a black American conductor.  Clearly I will need to expand this survey once again.

Maybe Music Remains Forever
This review of the excellent newly released Martin Bresnick CD went the equivalent of viral for my blog and I was pleased to have discovered the work of this wonderful American composer.

Primous Fountain World Tour Begins in Moldova
This relatively little known living black American composer was a child prodigy whose second symphony was commissioned by Quincy Jones had his sixth symphony premiered in Moldova in 2014.

Tawawa House in Modesto?
I was granted a comp ticket to see this really great performance of a little known 20th century opera by a black female American composer, Zenobia Powell Perry.  It was a great experience, a passionate, entertaining performance and put Modesto on the musical map for me.

Other Minds 18, Three Nights on the Leading Edge
Curiously this review was read more than the one about the 2014 Other Minds 19. More to come about the upcoming Other Minds 20.  For anyone who doesn’t know this is my favorite new music festival.

Far Famed Tim Rayborn Takes on the Vikings
This article about a 2013 performance by this very talented multi-instrumentalist, singer and scholar/historian continues to be popular. I’m hoping to catch another of his performances in 2015.

Black Composers Since the 1964 Civil Rights Act: Primous Fountain
I started in 2013 writing an occasional series of articles for Black History Month. I had no idea how popular this would become. The theme for the 2014 series is given in the title and you can rest assured that I will continue the series in 2015.

Tom Johnson and Samuel Vriezen, Great New Recording
A review of a crowd sourced recording project and one of my favorites of 2014.

Black Composers Since the 1964 Civil Rights Act
This is the introductory article for the 2014 series. Many thanks for the comments and support on this article and its successors.  I plan to give my summation of the various responses on this received both on and off the books.

Abraham Lincoln and the Avant Garde
This is one of an ongoing series of articles on political expression in music. It was after I friended Dorothy Martirano on Facebook and mentioned this piece that the article got a few new readers. Perhaps I should have mentioned the composer in my title.  Kudos to the late great Salvatore Martirano, gone too soon and too little known even now some twenty years after his passing.

 

SOME OF MY FAVORITES FROM 2014

Now regarding my personal favorite recordings of 2014 I have to insert a disclaimer to the effect that I make no claim whatsoever to this list being comprehensive or representing anything more than a few of my personal favorite recordings encountered in this past year. My apologies in advance to those I missed. I hope to catch up some day. So, in no particular order:

Mysterienspiel 2012

Game of the Antichrist by Robert Moran (Innova 251)
I promise a more comprehensive review soon but this is a great CD by a too little known American composer.  Mr. Moran recommended the disc to me after I wrote to him praising his wonderful “Trinity Requiem”.  I plan a more comprehensive article soon.  Meanwhile here is a link to a performance on Vimeo.

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Alcatraz/Eberbach by Ingram Marshall and Jim Bengston  (Starkland S-2019)

This DVD is essentially the completion of a collaboration of photographer Jim Bengston and composer Ingram Marshall.  As such it is the most complete artistic statement superseding the audio only release (still worth having by the way) from some years ago.

 

Who Has the Biggest Sound? by Paul Dolden. (Starkland ST-220)
A difficult to categorize recording that brings two major works by this (previously unknown to me) Canadian composer to the listening audience. I reviewed this disc here.  I am still working on absorbing its subtleties.

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Prayers Remain Forever by Martin Bresnick (Starkland ST-221)
In addition to providing me with quite a few readers the opportunity to review this recording introduced me to the work of this too little known living American composer.  My review garnered quite an amazing amount of readers as well as an appreciative response from Mr. Bresnick himself.  And now I find myself buying his other recordings.  Really great music.

 

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Notes from the Underground by Anthony Davis. (BMOP sound 1036)

I have been a fan on Anthony Davis and his music for some years now and I was pleased to be able to review this disc.   I  was later able to obtain an interview with Professor Davis which will be forthcoming later this year.

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Tom Johnson/Samuel Vriezen Chord Catalog/Within Fourths, Within Fifths. (Edition Vandelweiser)

I eagerly reviewed this crowd sourced CD in which I was proud to be one of the contributors to its production.  It is only the second recording of Johnson’s landmark of minimalism and an opportunity to hear the work of the fine composer/performer Samuel Vriezen.

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Basket Rondo/Jukebox in the Tavern of Love by Meredith Monk/Eric Salzman. (Labor LAB 7094)

This Labor Records release would have escaped my attention were it not for my having run across it while researching another new music article.  New music aficionados might remember Eric Salzman for earlier works such as “Civilization and It’s Discontents” and his involvement with Nonesuch records or one of his many other significant involvements in the new music scene over the last 40 years or so.  This disc is the première recording of Meredith Monk’s “Basket Rondo”, one of her best realized new works as well as the première of a great new sound/music drama by Salzman.  A more thorough review is in the works.

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Something by Howard Hersh ( Snow Leopard Music 888295062350)

Mr. Hersh kindly sent me this CD for review which will be forthcoming but it easily makes it to my favorites list for 2014.

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I also have to mention another crowd sourced project, “We Break Strings” by Thom Andrews and Dimitri Djuric, a book about the “alternative classical scene in London”.  The book which includes a CD sampler languishes in my “to be read” stack but my initial perusal left me with the impression of a beautifully conceived and executed volume which has much to offer the musically curious.  More about this book in a future blog.

 

 

 

2014 in review


The WordPress.com stats helper monkeys prepared a 2014 annual report for this blog.

Here’s an excerpt:

A New York City subway train holds 1,200 people. This blog was viewed about 6,400 times in 2014. If it were a NYC subway train, it would take about 5 trips to carry that many people.

Click here to see the complete report.