Art and the Reclamation of History: Akropolis Reed Quintet’s “Ghost Light”


New Focus FCR-292

Let me say that this disc represents one of the most integrated releases that I have seen/heard. This has the gravitas of a well conceived and executed prog rock concept album (remember those?). This young group of musicians from Detroit present themselves in a photo in the accompanying booklet in casual dress flouting the old fashioned traditions of playing in tuxes much as another creative chamber ensemble (The Kronos Quartet) did many years ago. The Akropolis Reed Quintet is a group of instruments not commonly known (I’ve never heard of any repertoire for this combination of instruments, any musicians/musicologists want to chime in here?) in classical chamber ensembles. Whereas the Kronos began work a with a long held standard ensemble comprising two violins, a viola and a cello, the classical string quartet which can easily trace a long standing tradition going back to Haydn and very much alive today, the Akropolis consists of oboe (Tim Gocklin), clarinet (Kari Landry), saxophone (Matt Landry), bass clarinet (Andrew Koeppe), and bassoon (Ryan Reynolds), an unheard of combo. Its history begins here.

Illustrator Ashton Springer

Unfamiliar music by an unfamiliar group of reed instruments doesn’t exactly shout, “Buy me, listen to me”, but the prospective listener need not fear. The program here consists of all new music for this ensemble. There are no competitors, at least for now. But all this music in truly excellent performances/recordings along with remarkably integrated collaboration with visual artist, British artist and illustrator Ashton Springer, and poet/writer Marsha Music combines in an apparent attempt to reclaim the artistic history that, in the days of the booming automotive industry and the success of Motown Recordings made Detroit a creative center known round the world. Ms. Music (a nom de plume for Marsha Battle Philpot), a Detroit native, is in many ways the heart of this album. Her father was a producer for Motown and her poetic reflections on local history infuses the album with a certain authenticity. The poet states she was “born in a record store”. Indeed it was the Joe’s Records which appears in Ashton’s album cover art to which she refers (metaphorically of course)

Ghost Light brings a variety of things into focus in this paean to Detroit, the home of these artists whose work very organically includes promotion of the arts in local schools and other venues. In works generally focused on themes of birth, death, and rebirth this album tells a sad story of lost history, of razed black neighborhoods, of fond memories, of a once thriving economy now struggling but fully embracing pride of place while seeking resolution of (and forgiveness?) for past injustices while looking optimistically to a better future.

Poet Marsha Music

The art work itself is a nostalgic example of fine cover art which successfully reflects the content and the character of the music contained within. The illustrations which so beautifully attract the eye to the cover are continued in the accompanying booklet which provides concise notes which place the music in the context of the composers’ various intent and processes as well as the nearly cinematic efforts made to represent the intended content of each piece. Though neither the poet nor the illustrator are known to this writer it is reasonable to assume that we will see/hear from them again. That would be my wish.

This is the fourth album by this prize winning chamber group which was formed in 2009 at the University of Michigan. It contains five musical compositions and three poems (which precede movements I, II, and IV of the final work). All the music, as noted above is generally on themes of life, death, and rebirth as well as “ghosts” of the past.

The first work by the only composer here that was known previously to this writer is “Rites for the Afterlife” (2018) by the amazing Stacy Garrop whose facility with melodic invention and subtle use of tone colors permeated her exciting Mythology Symphony. The four movements are roughly analogous to the classical sonata forms with a longer more complex first movement followed by a slow movement, a scherzo-like movement, and a finale which ties them all together. Here she titles her movements: I. Inscriptions from the Book of the Dead, II. Passage Through the Netherworld, III. The Hall of Judgement, and IV. The Field of Reeds. The composer provides a scenario which is recounted in the booklet. Let me say that her tone painting is that of a true master and I advise listeners to collect anything she releases. You will not be disappointed.

Second is “Kinds of Light” (2018) by Michael Gilbertson. This piece, in four brief movements attempting to metaphorically treat each instrument as a pigment. The movements: I. Flicker, II. Twilight, III. Fluorescence, and IV. Ultraviolet utilize timbres and combinations of timbres to represent the visuals implied by the titles. This is probably the most “experimental” of the pieces here but the experiment engages rather than repels.

“Firing Squad” (2018?) by Niloufar Nourbakhsh. If I’m reading those liner notes correctly, the performance of this work is accomplished with the ensemble playing with a recording of themselves playing the work. This is the most overtly political of the works represented here in its intense single movement.

“Seed to Snag” (2018) by Theo Chandler is cast in three movements: I. Sprout, II. Stretch, and III. Sow. Here is a metaphoric evocation of the cycle of life from birth to death utilizing baroque musical structures.

The album concludes with “Homage to Paradise Valley” by Jeff Scott. This is the largest work here clocking in at over 30 minutes including the poetry. Its four movements attempt to describe forgotten neighborhoods of Detroit. The movements are titled: I. Ghosts of black Bottom, II. Hastings Street blues, III. Roho Pumzika Kwa Amani, and IV. Paradise Theater Jump. Movements I, II, and IV are preceded by Detroit poet Marsha Music reading from her work. The beautiful title of the third movement is a phrase in Swahili which translates as, “Spirits, Rest Peacefully”. The other movements channel the ghosts of these nearly forgotten neighborhoods and that third movement invites those ghosts to a place of rest and the peace of knowing that they will not be forgotten.

I’ve placed links throughout this article so that readers can find more detail about the composers and other artists involved. All of the artists involved here deserve at least a second look if not more. Kudos to all who were involved in this project.

Donut Robot! Post-Haste Duo


OK, so I go to the post-office, to my little PO Box and I find one of those nice flat envelopes with the bubble wrap inside. Nothing unusual so far. When I pull out the disc I see post-apocalyptic cover art that could have come from the pen of Matt Groening (that is a compliment). And looking at the inside I recognize none of the musicians and none of the composers (also not unusual). Bassoon and Saxophone? Sounds iffy at best. And these folks hail from Idaho. Idaho? The last time I heard the name of this state in relation to classical music La Monte Young was being discussed (he was born in Idaho). They now hail from Portland.

Sean Fredenburg

But when I put this disc in my CD player while on one of my longish drives (we drive a lot in California) I was delighted and mesmerized. These two musicians, both professors at Idaho university, seem to have cast their net into minimalist waters. The variety within that definition of a musical style demonstrates the apparently boundless creative ways of working within that style and the limitations of the term in helping listeners know what to expect.

Well, expect virtuosity, expect clever invention, and expect to be entertained. Despite the pop art cover (the entire production will be my exhibit A when I propose a law requiring a minimum 12 x 12 packaging for all music and video releases) the music consists of some really solid compositions which send quite a challenge to the artists while leaving the listener enthralled (no easy task). The only mistake is putting the liner notes one line. Die hards like yours truly will seek out and read these (actually very useful notes) but I think most listeners will not make the effort. Ah, well.

Usually these solo instruments are accompanied by a piano or a guitar when they are not a part of a larger ensemble. When these two instruments play together one might choose a strategy of having one instrument accompany the other. The compositions here utilized a variety of strategies, many of which place some serious physical demands on the musicians. What all these compositions manage to do is to sound as though they were intended to come out exactly as you hear them in this recording (also a daunting and frequently unaccomplished task).

These machinations stem from the efforts of the Post-Haste Reed Duo consisting of Sean Fredenburg on saxophone and Javier Rodriguez on bassoon. These works are commissions written for them (who else?) and presented here in their world premiere recordings.

The composers (Ruby Fulton, Drew Baker, Michael Johanson, Edward J Hines, Andrea Reinkemeyer, and Takuma Itoh) presented me with yet another research task (also not uncommon with the unusual music that comes my way), that of finding out who these people are and, frankly, if I should file these names away in my future successes file, keep them on the radar in the hopes that they will continue to produce work of this quality. I’d say odds are good.

Metafagote, Rebekah Heller on Solo Bassoon (mostly)


hellerfagote

For this listener, traversing contemporary music concerts in the 1980s there appeared a trend to modify the traditional look of classical performers. The first striking example I can recall is the venerable Kronos Quartet performing all in tight black leather outfits. And there are performers who have an intentionally different look such as violinist Nigel Kennedy or Kathleen Supove whose look is decidedly unconventional. Focusing on attire could conceivably detract from a musical performance but the previously mentioned performers have in common with the performer on this disc both virtuosity and a distinctly different look which seems integral to their performance delivering decidedly unconventional music.  The photography by Corrie Schneider creates a striking and evocative cover image giving her a sort of superhero ambiance.  Why not?

Rebekah Heller, of course, is also one of the members of the wonderful ICE Ensemble, one of the finest working chamber groups focusing on contemporary music. ICE has in common with groups like Bang on a Can, Alarm Will Sound, ACME, and others the fact that they are populated by some of the finest young musicians who seem to be able to meet any challenge…er, commission thrown at them. In addition many of the musicians in these groups are also interesting composers.  The others have a profound interest in new music that match their skills and passions oh so well.

In Metafagote Rebekah Heller presents 4 works on 4 tracks.  Rand Steiger (1957- ) is a graduate of the Manhattan School of Music and Cal Arts.  Steiger has been at UC San Diego since He is a 2015 Guggenheim Award recipient and though his discography is adequate this writer sees his name, hears his music too infrequently.

Steiger’s work opens this disc with Concatenation (2012) for bassoon and live electronics.  Steiger is skilled in writing for both conventional instruments and for high tech electronics including spatialization, live processing.  Steiger’s work is assertive, pretty much freely atonal, and packs a punch emotionally if memory serves.  There was a vinyl record (this composer is younger than me by one year and I’m guessing still hoards at least a selection of LPs.  The work was Hexadecathlon: “A New Slain Knight” (1984), basically a horn concerto for horn with chamber ensemble.  It burns in my brain still, wonderful 6 minute cadenza at the end too.

Back to Concatenation, it is a sort of all consuming experience, a sound bath if you will.  The timbres achieved with the combination of bassoon with electronics creates some grand, almost orchestral textures.

The second work is by one Jason Eckhardt (1971- ), a name vaguely familiar but his work is new to me,  Eckhardt earned a B.A. from Berklee in 1992 followed by an M.A. (1994) and a D.M.A. (1998).  He has studied with James Dillon, Jonathan Kramer, Milton Babbitt, Brian Ferneyhough, and Karlheinz Stockhausen.  That provenance gives one an idea of what to expect…complexity.  And he dishes that out for solo bassoon.  Heller is up to the challenge in this piece, “Wild Ginger” (2014) from a series of pieces based on native plants in the Catskills.  Again, why not?

The third track contains, “Following” (2014) for solo bassoon from a composer whose inspiration also sometimes comes from plants.  Dai Fujikura (1977- ) is a prolific Japanese composer who also comes from a legacy of complexity having studied with the likes of Boulez, Taketmitsu, and Ligeti.  Fujikura’s music may be complex but his music tends to have a softer edge, more like Takemitsu than Boulez.  Again Heller demonstrates her technical skills that rise to meet the challenges posed here.

Last but not least is a piece as large and encompassing as the Steiger.  Felipe Lara (1979- ) is an accomplished Brazilian composer.  He is represented here  by, “Metafagote” (2015), the most recent of the compositions here.  It is scored for bassoon and 6 pre-recorded tracks.  One is naturally put in the mind of Steve Reich’s counterpoint series for soloist playing against multiple pre-recorded similar instruments.  The piece also can, and has been, performed by a soloist with 6 other bassoonists.

While the Reich notion is not the worst place to start, this piece is anything but minimalist.  Rather it is distinctively modernist.  It is a virtuosic exploration of some fascinating possibilities of the lowly bassoon.  Lara owes more to free jazz at times in this epic, almost a concerto, piece.

I don’t know how many bassoon fanciers are out there but if you like new and experimental music of a virtuosic nature this is a great bet.

Steven Kemper’s Mythical Spaces


mythical

Ravello Records RR 7980

It is this writer’s opinion that the category “electro-acoustic” carries such a wide range of connotations that it is of limited use to a listener.  This album is so characterized and here simply means that both electronics and acoustic instruments are used.  Even the concept of electronic music is difficult since such a designation. Playlists on Spotify and iTunes usually points the listener to a form of pop/dance music if you search for electronic.  Further complicating things (and I think this is at least in part the point here) the electronics here include fixed media (electronics which does what it is programmed to do and does not interact with the performers or simply plays alone) and robotic electronics as well as electronics which interacts with the performer.  You will have to check the composer’s web page for more information on what exactly the “robotic” media are.

This is cutting edge in the sense that it is experimenting with new media in combination with more traditional media (and simple electronics is now “traditional media” having been superseded by the new fangled).  The actual sound of this music seems to inhabit a rather spare sound world akin perhaps to that of late Morton Feldman but with more brevity. These pieces last from 1.5-10 minutes on average and demand some concentration on the part of the listener.  Think maybe a cross between Feldman, Webern and say Subotnick.

Now one could conceivably play this music at a low volume in the manner of so-called “ambient” music. There are not many dynamic changes here to take you away from that sort of reverie.  But that does not really seem to be the composer’s intention. These are concentrated little essays, each seeming to explore the parameters of its context, fixed media, live instruments, robotic media, and combinations of these.

Steven Kemper is a new name to this writer.  His education and wide interests are available on his web site.  While he has an impressive bibliography with cutting edge research interests in music and sound this appears to be his first CD.

There are 15 tracks which comprise 5 works.  Mythical Spaces (2010) is for percussion with fixed media in 5 separate movements.  Breath (2015) is for fixed media alone in one movement.  Lament (2015) is also in one movement and is scored for flute with interactive media.

The longest single movement comprises In Illo Tempore (2012 rev 2017) is scored for saxophone, bassoon, AMI (automated monochord instrument), and CARI (cylindrical aerophone robotic instrument).  It clocks in at 7:48.

Last but not least is The Seven Stars (2012) for amplified prepared piano in 7 movements.

Live performers include Mark Truesdell, percussion; Wayla Chambo, flute; David Wegenlaupt, saxophone, Dana Jessen, bassoon, and Aurie Hsu, prepared piano.

This is music which requires some serious concentration from the listener.  Hearing/seeing this live might provide some additional aspects due to these strange electronic/robotic instruments but the point here seems to be one of an inner voyage which, if you focus you listening energy, transports you into this composer’s imaginary spaces.  Whether you will enjoy this or not is difficult to say but it is certainly worth the effort.

 

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.