Fixing a Hole to Keep the Music Playing: Starkland brings back Guy Klucevsek’s “Citrus, My Love”


Starkland STS-235

I don’t recall when I first heard Guy Klucevsek but I think it was the early 90s. I grew up hearing a great deal of accordions in polka bands at weddings throughout my childhood. This instrument had, pretty much since its beginnings in the early 19th century, been associated primarily with folk bands and not at all with classical music. I don’t think one can find an accordion used in a classical orchestra before Tchaikovsky’s 1822 Second Orchestral Suite and only sparingly after that. So when I discovered this New York musician via his releases on the Starkland label, Transylvanian Software (1999) and Free Range Accordion (2000) and the CRI disc Manhattan Cascade (1992). I was curious to see what this musician would do with this traditionally “low brow” folk instrument.

Free Range Accordion
Starkland ST-209
Transylvanian Software
Starkland ST-207

I had come to trust the Starkland label (which began in 1991) as one whose releases were usually very much to my taste and I was not disappointed to hear Klucevsek’s playing of pieces written by him and other composers for this instrument. Unlike Pauline Oliveros who did much to expand the very nature of the instrument itself, Klucevsek retained, and sometimes parodied, the humble folk/pop origins and reputation of the instrument while still pursuing its possibilities in the New York downtown experimental music scene where he worked with people like Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn among many others. Klucevsek expanded the role of the accordion in his own way.

Klucevsek later put together a commissioning project called, “Polka from the Fringe” (1992), a project which echoes the 1981 “Waltz Project” by Robert Moran and presages another accordionist William Schimmel’s “The Tango Project” of 2006. All of these commissioning projects utilized dance forms common in the 20th century as a “stepping off” place for a new musical piece. And it was Starkland which rescued the fascinating two disc release of Polka from the Fringe (2013) from over two decades languishing in “out of print” status. These projects are significant in that they invite composers to get out of their comfort zone and demonstrate their take on the given dance form. Like Klucevsek’s earlier releases this Polka collection is a veritable Who’s Who of working composers of the era much as the Variations (1819) project of Anton Diabelli collected some 51 composers’ works based on Diabelli’s waltz-like theme (Beethoven’s gargantuan set of variations was published as volume 1 and the other 50 variations in volume 2 which included composers like Schubert and Liszt).

Polka from the Fringe
Starkland ST-218

So here comes Starkland to the rescue again in this (languished for some 25 years after only having been available for two years) very personal recording which displays Klucevsek’s substantial compositional chops as well as his knowledge and use of extended instrumental techniques for his instrument. It presents pieces written for a dance performances and shows a very different side of Klucevsek, one which shows more of his substance as a composer alongside his virtuosic skills on his instrument. In this digital only release there is an option to include (for a mere $3.00 more on the Bandcamp site) a series of 13 videos featuring Guy Klucevsek talking about the music on this album and his various musical interests. A gorgeous 10 page booklet providing further detail including the original liner notes with updates is included in all purchases. The album will also be available on Spotify, You Tube, and other streaming services but the videos are only available on Bandcamp.

Teetering on the Verge of Normalcy Starkland ST-225

Listeners may find this new release has some in common with Starkland’s previous Klucevsek release from Starkland, “Teetering on the Verge of Normalcy” (2016) which features some similar compositional diversity in a disc entirely of Klucevsek’s works. The line from Citrus, My Love to Teetering on the Edge of Normalcy seems to be a logical succession in Klucevsek’s compositional development. In addition to his accordion studies Klucevsek studied composition in Pittsburgh but it was the influence of Morton Subotnick with whom he studied in his independent post graduate work at the California Institute of the Arts that exposed this east coast artist to some of the splendors of the west coast encountering artists like Terry Riley and Pauline Oliveros. Indeed Klucevsek can be said to be “bi-coastal” in his compositional endeavors. And though this is a “tongue in cheek” characterization it does speak to the roots of Klucevsek’s diversity in style.

There are 12 tracks on “Citrus, My Love” representing 3 separate works: the three movement, “Passage North” (1990), the single movement, “Patience and Thyme” (1991), and the eponymous, “Citrus, My Love” (1990) in 8 movements. The production of this album is by none other than Bobby Previte, another valued east coast musician and colleague. The notes have been updated under the guidance of Tom Steenland with input from Klucevsek who, understandably, expresses great joy in having this album available again.

The first three tracks are dedicated to a single work, “Passage North” (1990) written for accordion and string trio consisting of Mary Rowell, violin/viola, Erik Friedlander, cello, and Jonathan Storck, double bass. They are dubbed “The Bantam Orchestra”. This Copland-esque work was commissioned by Angela Caponigro Dance Ensemble. The second movement is for string trio alone and is dedicated to the memory of Aaron Copland who died in 1990.

Patience and Thyme (1991) according to the composer “is a love note to my wife, Jan.” He composed the work while in residence at the Yellow Springs Institute in Pennsylvania, which coincided with his 22nd wedding anniversary. It is scored for piano and string trio, no accordion. Compositionally it seems at home between the larger pieces.

Citrus, My Love was commissioned by Stuart Pimsler for the dance of the same name. It is in 8 scenes and is scored for Klucevsek’s accordion accompanied by his personally chosen Bantam Orchestra. Klucevsek describes the music on this album as representing his transition from hard core minimalism to a more melody driven style and this is the missing link, the “hole” to which I referred in the Beatles metaphor in the title of this review.

For those who already appreciate Klucevsek’s work this album is a must have. To those who have not gotten to know this unique talent this is a good place to start.

For those seeking to get more deeply into Klucevsek’s work (a worthwhile endeavor) and to provide a perspective on the range of this artist’s work I’m appending a discography (shamelessly lifted and updated from the Free Reed Journal) :

SOLOIST/LEADER

Scenes from a Mirage (Review)
Who Stole the Polka? (out-of-print)
Flying Vegetables of the Apocalypse (Experimental Intermedia)
Polka Dots & Laser Beams (out-of-print)
Manhattan Cascade (CRI)
Transylvanian Softwear (Starkland)
Citrus, My Love (Starkland)
Stolen Memories (Tzadik)
Altered Landscapes (out-of-print)
Accordance with Alan Bern (Winter & Winter)
Free Range Accordion (Starkland)
The Heart of the Andes (Winter & Winter)
Tales from the Cryptic with Phillip Johnston (Winter & Winter)
Notefalls with Alan Bern (Winter & Winter)
Song of Remembrance (Tzadik)
Dancing On the Volcano (Tzadik)
The Multiple Personality Reunion Tour (Innova)
Polka From The Fringe (Starkland)
Teetering On the Verge of Normalcy (Starkland)

COMPILATIONS

Great Jewish Music: Burt Bacharach, Who Gets the Guy?, This Guy’s in Love With You (Tzadik)
Planet Squeezebox, The Grass, It Is Blue, Ellipsis Arts
Legends of Accordion, Awakening (Rhino)
The Composer-Performer, Samba D Hiccup (CRI)
Koroshi No Blues, Sukiyaki Etoufee, Maki Gami Koechi (Toshiba EMI)
Norwegian Wood, Monk’s Intermezzo, Aki Takahashi (Toshiba EMI)
Music by Lukas Foss, Curriculum Vitae (CRI)
Here and Now, Oscillation No. 2, Relache (Callisto)
A Haymish Groove, Transylvanian Softwear (Extraplatte)
A Confederacy of Dances, Vol. I. Sylvan Steps (Einstein)
A Classic Guide to No Man’s Land, Samba D Hiccup (No Man’s Land)

WITH JOHN ZORN

The Big Gundown (Nonesuch Icon)
Cobra (Hat Art)
Lost in the Stars: The Music of Kurt Weill, Der Kleine Leutnant Des Lieben Gottes (A&M)

WITH RELACHE

On Edge (Mode)
Open Boundaries, Parterre (Minnesota Composers Forum McKnight Recording)
Pauline Oliveros: The Well and The Gentle (Hat Art)

WITH OTHERS

Laurie Anderson: Bright Red (Warner Bros)
Anthony Braxton: Four Ensemble Compositions, 1992(Black Saint)
Mary Ellen Childs: Kilter (XI)
Anthony Coleman: Disco by Night (Avante)
Nicolas Collins: It Was a Dark and Stormy Night (Trace Elements)
Fast Forward: Same Same (XI)
Bill Frisell: Have A Little Faith (Elektra Musician)
David Garland: Control Songs (Review)
Robin Holcomb: Rockabye (Elektra Musician)
Guy Klucevsek/Pauline Oliveros: Sounding/Way, private cassette release (out-of-print)
Orchestra of Our Time: Virgil Thomson, Four Saints in Three Acts (Nonesuch)
Bobby Previte: Claude’s Late Morning (Gramavision)

Janoska Ensemble: Revolution


 

janoskarev

Deutsche Grammaphon 60257 725 9326

Not your typical Deutsche Grammaphon release, this disc is of a genre in which classical musicians toy with pop music arrangements (in this case two violins, piano, and bass) as well as a few showpieces.  Such novelties when done carelessly (evidence the plethora of string quartet arrangements of rock music) it can be tedious but with clever arrangements and energetic musicians they can be marvelously entertaining.  This disc is in the latter category.

This traverses some of the territory of the late great Yehudi Menuhin and his collaborations with the likes of Stephane Grappelli among others.  This spirit of exploring the fun side of classical music (so to say) is very much present here.  The virtuosity of the selections by Fritz Kreisler and Henryk Wieniawski  are contrasted with virtuosity of variations written and arranged by the Janoskas.  Add a cello and I’d love to hear these guys do the Schubert Trout Quintet.  They rock in their way.

Here are the track names:

The Marriage of Figaro (Mozart)

Yesterday (Lennon and McCartney)

Praeludium and Allegro in the style of G. Pugnani (Kreisler)

Hello Prince! (Roman Janoska)

Air (Bach)

Len’s Dance (Frantisek Janowska)

Melodie (Tchaikovsky)

Night and Day (Porter)

Penny Lane (Lennon and McCartney)

Variations on an Original Theme (Wieniawski)

Let it Be (Lennon and McCartney)

The ensemble consists of Ondrej Janoska, violin; Roman Janoska, violin; Frantisek Janoska, piano; and Julius Darvas, double bass.  Nothing truly “revolutionary” here except for the title but fun and entertainment certainly are.

 

William Susman’s Scatter My Ashes


susmanscatter

I first encountered the composer William Susman (1960- ) when one of his works appeared on a program which included a solo cello and electronics piece by Vivian Fung.  This solo electroacoustic piece, the work I was initially asked to review, was nestled in the middle of an interesting program by the San Jose Chamber Orchestra.  I chose to review the entire concert which was a fascinating selection of new music.  William Susman’s “In a State of Patterns” (2018) struck me immediately as interesting post-minimalist work.

Susman_at_piano

Mr. Susman read my review and rather promptly sent me this 2014 CD on his Belarca label.  It contains four of his works from 1992-2010 and is a fine sampling of his work.  All works are here performed by the Octet Ensemble which includes: Alan Ferber, trombone; Mike Gurfield, trumpet; Melissa Hughes, vocals; Elaine Kwon, piano; Eleonore Oppenheim, double bass; Demetrius Spaneas, saxophone; Greg Zuber, drums and percussion; and William Susman, electric piano.

There are four pieces on 12 tracks.  The disc begins with Camille (2010), a very listenable post-minimal chamber work.  It is followed by a melancholy song cycle, Scatter My Ashes (2009) on poems by the composer’s sister Sue Susman.

The third piece is a wonderful piano concerto.  There are not a lot of convincing concertos in the minimalist genre but this one is a candidate for being a poster child.  It is for piano with chamber ensemble.  Here the composer goes not for the finger busting virtuosity that seems to be the current vogue but rather he evokes a latter day Mozart with more technically modest but highly entertaining music that communicates directly.  Curiously (is this a carry over from the Steve Reich and/or The Philip Glass Ensemble?) he uses a wordless vocal (Hughes) as a part of the instrumental texture.  Elaine Kwon handles the featured keyboard part.  It works very well.

He ends with an arrangement for OCTET of Moving in to an Empty Space (1992, arr 2010), another setting of his sister’s lovely poetry.  Again he evokes the somber but it is more in the nature of exorcising the demons of sadness much like the mission of the poet.

 

Collectif9: No Time for Chamber Music or Mahler Lite


Collectif9 based in Montreal bills themselves, aptly, as a “string band”. This is their second album and I haven’t heard the first but this one is a hoot!

Drawing on the age old practice of transcribing music for chamber groups which used to be common in taverns and such back in the 18th and 19th  centuries they create delightful riffs on the music they chose.  Here they chose Gustav Mahler. If the appellation of my title, “Mahler Lite” seems pejorative fear not.  This album is sheer delight.

There are 8 tracks drawing variously from the first, second, and fifth symphonies as well as Das Lied and the Wayfarer Songs.  The last track is a fantasy by Philip Hersant on themes of Mahler.  Nine musicians, all on bowed string instruments, do a marvelous job of evoking a big sound out of their ensemble.

Transcription is a true art and this is a shining example.  Anyone familiar with Mahler’s work will find a comforting familiarity in these pieces.  What struck this listener was their ability to evoke the orchestral instruments with some clever extended techniques.  Tympani, trumpets, trombones, tympani, etc. are all slyly and successfully implied in their playing.

While the liner notes don’t go into much technical detail they are all the average listener will need.  The charming thing here is the reproduction of the painting (apparently common in nurseries in Austria) which inspired the third movement of his first symphony.  If you don’t know the painting it depicts a bunch of animals carrying a dead hunter which, perhaps, they have killed.  And it is printed on the fold out liner notes.  Mahler uses Brother John (in a minor key) as a starting place for a set of variations with the intent of evoking this image.

The design by Kanelloscob.com deserves mention.  It deserves a closer look.  They manage to integrate a group photo, a track list, credits, commentary, and a large reproduction of that nursery art.  And they do it all with paper, no plastic to crack and become unusable.  It’s low key but a really beautiful production.

Collectif9 is John Corban, Yubin Kim, Robert Margaryam, and Elizabeth Skinner on violins; Xavier Lepage-Brault and Jennifer Thiessen on violas; Jérémie Cloutier and Andrea Stewart on celli; and Thibault Bertin-Maghit on double bass (who actually did these wonderful transcriptions).

Of course the music is the main point and that is the best reason to buy this disc.  Who knows? Maybe we’ll start seeing/hearing chamber groups like this in our coffee shops. Wouldn’t that be cool?

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!

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.