Monk and the Memories


Cantaloupe CA21153

Like many innovative young artists in New York City in the early 60s Meredith Monk had to train musicians to work with her unusual vocal methods. Her first album, Key (1971), was the first time her vocal art began to be dispersed outside the intimate, neo-bohemian loft space where the album was recorded. After graduating from Sarah Lawrence College in 1964 Monk moved to Manhattan where she and many other young, creative experimental musicians populated what became known as the “downtown scene” or SOHO. Many musicians worked with her over the years including composer/cellist Robert Een, Pianist Anthony De Mare both of whom incorporated their extended vocal techniques learned in the loft of the master herself.

Bang on a Can was formed from a very similar aesthetic (that of providing an alternative to the “uptown scene” which generally refers to the “establishment” or “mainstream” of classical music epitomized by Julliard and Lincoln Center. Founded in 1987, Bang on a Can and their subsequent touring group, Bang on a Can All Stars (begun in 1992) can be said to be another generation’s effort to achieve what Monk and the many musicians who followed such as Philip Glass, Steve Reich, LaMonte Young, among many others whose musical vision stood in contrast to the established uptown, more academic leanings.

It was Bang on a Can’s transcription of Brian Eno’s famous studio produced album (no live musicians), “Music for Airports” that demonstrated their ability to revision some of the work of their forebears and bring it into the concert hall. This is pretty much what we see here in this loving collaboration/tribute to one of New York’s finest composer/performers from the early downtown/SOHO era.

Monk began her artistic life as a dancer and dance/choreography remains an essential part of her artistic vision. 2014-2015 marks the 50th anniversary of Meredith Monk as a performer. “–M—EM–O-R—Y —-G-A—-ME—” (2020) is a wonderful production which sits somewhere between a “greatest hits” record and that of another generation’s reverent celebration of a unique artist. Bang on a Can shares the duties of transcription and performing with Monk and her ensemble. Most of Monk’s work involves (generally) one to five musicians (playing minimalist style music) onstage but here we see an expansion into a larger ensemble not unlike her collaborations which resulted in one of her largest works, the masterful “Atlas” (1993) produced by the Houston Opera. (Would that a new recording of Atlas may eventually come from such a collaboration).

back cover

So what we have here is a combination of transcription, performance, but most importantly a respectful sharing out of a mutual educational experience between Monk’s ensemble and that of BOC. There are nine tracks comprising nine distinct compositions from Monk’s oeuvre. BOC composers provided transcriptions of “Spaceship” (Michael Gordon), “Memory Song” (Julia Wolfe), “Downfall” (Ken Thomson), “Totentanz” and “Double Fiesta” (David Lang). The other tracks appear in transcriptions by members of Monk’s ensemble: “Gamemaster’s Song” and “Migration” (Monk), “Waltz in 5s” (Monk and Sniffin), and “Tokyo Cha Cha” (Sniffin).

Monk’s ensemble in this recording consists of Meredith Monk, Theo Bleckmann, Katie Geissinger, Allison Sniffin, and guest artist Michael Cerveris. The Bang on a Can All Stars include Ashley Bathgate, cello and voice; Robert Black, electric and acoustic bass; Vicky Chow, piano, keyboard, and melodica; David Cossin, percussion; Mark Stewart, electric guitar, banjo, and voice; and Ken Thomson, clarinets and saxophones. The expansion of the ensemble adds favorably to the sound (as it did in Atlas) and the transcriptions enhance the music (as was the case in “Music for Airports”).

The 2012 collaboration produced by Monk’s House Foundation deserves mention here because it is a crowd sourced two CD production of covers by a variety of artists paying homage to Monk’s work. It is not clear if this release had any influence over the Memory Game album but it does speak to the influence of the artist.

The House Foundation for the Arts
ASIN : B00A1JCY1I

Fans of Meredith Monk and her various music/dance/theater works will find a comforting familiarity in these performances of music which, at one time were the leading edge of the new and experimental, now become familiar and, more importantly, embraced by another generation who clearly took the time to look, listen, and understand the work of this now acknowledged American Master. Those unfamiliar will find this a great introduction to Monk’s legacy.

Though chosen from a variety of compositions which date from 1983 to 2006, this selection comes together in a satisfying unity. The very tasteful album design is itself an homage to the look of Monk’s ECM recordings (under Manfred Eicher’s direction) who released the majority of her work. Kudos to the production team of David Cossin and Rob Friedman whose work here is among the finest of Bang on a Can Allstars’ recordings and a very satisfying addition to Monk’s discography. The little liner notes booklet includes an essay by the composer as well as a copy of the lyrics to “Migration” and “Memory Song”, just enough to inform and not overwhelm the casual listener. This is one fantastic release.

Meredith Monk performing her signature Gotham Lullaby in San Francisco, 2016 Other Minds

Leegowoon’s First Piece: Korean Post-Modernism?


leegowoon

OGUN Music JEC- 0253

This review was completed by chance on International Women’s Day.  It is not intended to stand in for all that means but I am pleased to present this woman’s work today.

Lee Go Woon is a composer new to this reviewer.  My friend Joshua Cheek has been sending me occasional shipments of some really hard to find releases from the western edge of the Pacific Rim.  There are some amazing gems being released from Korea, China, Japan, etc. that rarely find distribution in the United States and this is one of those discs.

One thing these discs (classical or popular) seem to have in common is a serious attention to art work and album design.  It is enough to start people like me whining about the loss of the 12 x 12 format of the LP which brought about the genre of album art, something I can never stop lamenting I’m afraid.

Well, it’s not just pretty pictures though.  This is a curious disc by young Korean woman who is familiar with traditional Korean classical music and apparently with other genres as well.  Korean classical is less well known to the general public in America than its analogous counterparts in Japan, China, Thailand, India, etc. but it is a fascinating and ancient system of music with its own set of artfully designed instruments.

Cultural appropriation has become a strongly pejorative term these days but what happens if an artist is appropriating their own culture?  What I mean is, for example, the incorporation of traditional Hindustani instruments and idioms in the hybrid pop of Bollywood music or similar such mashups with Chinese or Japanese traditional musics.  These are creative options and, while not necessarily a cherished part of so called “high culture”, are nonetheless acceptable and marketable options.  It is a hybridization or perhaps something like “self appropriative” or simply promoting?

The incorporation of traditional music is akin to the work done by composers like Bela Bartok, Zoltan Kodaly, Aaron Copland, and that whole late 19th and early 20th century fascination with folk and traditional music spurred on by late romantic nationalisms.  The present disc fits roughly in that tradition, just being done in the 21st century and it does not appear to be about nationalism either.

Lee Go Woon’s first piece is basically a song cycle written for voices (one male, one female) and an orchestra comprised of traditional Korean instruments.  It is not the synthesis of east and west that one finds in Toru Takemitsu’s November Steps (1967).  It is not really at all about the west at all.  And it is therein that the real interest lies.

The composer studied piano as a child and later she studied traditional percussion instruments.  She graduated from the Korea National University of Arts in 2012 with a Bachelor’s Degree and attained a Master’s Degree from the same school in 2016.  She received a Gold Medal in the 31st Korean Traditional Music Competition the same year.

Korea has, perhaps more than many countries, had their traditional culture undermined by military occupations, bombings, forced relocations, etc.  The fact that there have been 31 years of competitions attempting to recover some of their precious musical culture is certainly reason for hope and these first compositions by one of their finest new composers is a reason to listen.

Unfortunately the liner notes in that beautiful booklet are mostly in Korean and I haven’t been able to find someone to impose upon for a translation.  But I can tell you that the album has 5 tracks and that the music is quite listenable.  It would be helpful to know the text of the sung portions but the music speaks pretty well for itself.  The recording is lucid and there is quite a bit of definition to bring out the subtleties of the instruments and the performances are wonderful.

Happily this music can be heard via MP3 downloads on Amazon as well as via various streaming services.  Hopefully there will be more to hear as Korea moves on and recovers more of its rich culture and shares it with the world.