GVSU’s “Return”, an Intoxicating Adventure in Sound


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                                                                        Innova 983

OK, I’ve listened to this lovely CD numerous times and greatly enjoyed it each time. So why has it languished as a draft and why have I failed to publish this?

Procrastination aside there are several things I can identify as things that make this reviewer pause. First (and perhaps least significant) is unfamiliarity. The disc features three composers completely unknown to me: Daniel Rhode, Adam Cuthbert, and Matt Finch all of whom are listed as doing the additional duty of acting as mixing engineers (they are all students of the ensemble director as well).

GVSU  hails from the state of Michigan and it’s new music ensemble (consisting of Hannah Donnelly on piccolo, flute, alto flute, bass flute; Ryan Schmidt, clarinet, bass clarinet, contrabass clarinet; Darwin McMurray, soprano, alto, tenor, and baritone saxophones; Makenzie Mattes, percussion; Reese Rehkopf, piano; Jenna Michael, violin; Kirk McBrayer, cello; Niko Schroeder, sound engineer; and Bill Ryan, director and producer) is also new on this writer’s radar. Add the participation of the extraordinary violinist Todd Reynolds (on one track) and one’s attention is further piqued. Reynolds is an artist who chooses his repertoire and collaborations judiciously so his presence certainly functions as an endorsement.  But “unknown” is the heart of my interests both as listener and reviewer so that can’t be the reason though the lack of liner notes is a bugaboo (though hardly a fatal one).

On the positive side this is an Innova release and that fact alone lends credibility. Anything that Minnesota based label (the official label of the American Composers Forum) is worth your attention. Label director Philip Blackburn has a finely tuned radar which has led to many revelatory releases over the years.  Truly anything released on this label is worthy of your attention if you are a new music fan.

So we have hear a 15 track CD of 15 new works whose sounds seems to travel between ambient and postminimal. The pieces merge nicely with each other in a production which assures a fine listening experience. One can put this on either as background or for more intensive listening. It works either way. The playing is dedicated and insightful and the recording is top notch.

The pieces range in length from 1:32 to 7:32 and all seem to be just the right length communicating substance but never dallying too long. They’re bite sized, so to speak but they each have their charms as well as their complexities.  All are premiere recordings and all are commissioned by the ensemble.

Check it out. Click on the links provided in this review. And simply enjoy.

 

 

Crazy Nigger, Gay Guerrilla, Precious Artist: Julius Eastman Examined


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This essential collection celebrates the life and work of a composer and performer whose unique presence was nearly eroded to nothing but for the work of composer (and co-editor of this volume) Mary Jane Leach who spearheaded an effort to rescue as many scores and recordings as possible after Eastman’s death in 1990 at the age of 49.  The first evidence of this modern archaeological effort came with the release of Unjust Malaise (2005), three CDs which featured some of the recordings that were gathered in that early effort.  In addition it should be noted that Leach continues to maintain a resource page with the most up to date information on Eastman scholarship efforts.

Now, along with Renée Levine Packer (whose wonderful history of the Buffalo New Music Days, “This Life of Sounds” (2010) is not to be missed) we have a lovingly edited collection of essays which comprise a sort of biography as well as an appreciation of this very important American composer.

One look at the acknowledgements reveals the wide scope of individuals with whom Eastman came into contact and whose contributions became so essential to this volume.  The wonderful introductory essay is so very appropriately written by George E. Lewis whose figure itself continues to loom knowledgeably over late twentieth and early twenty first century music.  He takes a characteristically unflinching look at the cultural, historical and socioeconomic factors that contextualize Eastman’s work as well as his untimely demise.  Eastman’s frequent use of politically incorrect titles that challenge a smooth vocal delivery in the most seasoned of broadcasters is here made to seem quite understandable (if not comfortably palatable) within the complex forces that defined Eastman’s milieu.  Lewis embraces Eastman’s talents and makes the prospect of further study of his work tantalizing.  He provides a truly authoritative context which can serve all future work in this area.

There are nine chapters, a chronology and a select bibliography along with photographs and score examples.  The essays that comprise each chapter focus from the macro-view of Packer’s biographical sketch and Leach’s timeline to micro-analyses of some of Eastman’s works and some additional personal perspectives.  One of the most endearing qualities of this volume is the fact that many of the contributors knew and/or worked with Eastman at one time or another.  It is clear that all the contributors were deeply affected by their encounters with Eastman himself and/or with his music and all are rather uniquely suited to be in this volume.

One suspects that Packer’s biographical sketch which opens this volume will henceforth serve as a basic model for all future biographical research.  Whether one finds agreements or not the material is presented in as complete and organized a fashion as can be imagined.  It paints the picture of a prodigy who, for whatever reason, fell into disarray.  Whether there was drug use or symptoms of mental illness will be the debate which will, of course, never be satisfactorily resolved.  What shines through though are tantalizing moments and a plethora of relationships, however brief sometimes, that contribute to all we will ever really know of the enigma of the life of this precious artist.

Some of what follows has the quality of memoir and some leans more toward academic analysis.  All of these essays, timelines, bibliographies, etc. tie this book together as the first most comprehensive effort at trying to understand the man, his music, his milieu, his unusual personality.

These accounts will always be crucial in any future analysis of the enigmatic talent of Julius Eastman.  Though many will attempt to affix labels to his personality variously attributing his quirks to mental or physical illness no one will ever know him the way the people in this book did, as a precious artist whose work was rescued (as much as it could be) from obscurity by his family (both biological and artistic).  He was and is loved in perhaps the only way that he would allow, through his work and his deeds.

This book is a fascinating read which serves to put the artist back into his proper place as the genius he was.  Much remains to be written, performed, analyzed and recorded but this book will always serve as the reference point for what is to come.