Both Homage and Nostalgia for Sergeant Pepper at the UC Theater


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Creative, practical staging and lighting was a unifying factor in this triumph from Undercover Presents.

There was a full house at the UC Theater on this Saturday, June 3rd in Berkeley.  It was the only performance of this homage to the Beatles’ Sergeant Pepper album which was released 50 years ago (actually June 2, 1967).  Most of the performers were not even a twinkle in their parents’ eyes when this landmark of music came on the scene.  The “Summer of Love” was happening in the Bay Area and this album was unquestionably an influence then.  Tonight’s show demonstrated how that influence continues.

The audience was a mix of aging hippies (and non-hippies) and younger hipsters (is it OK to use that term and have no negative connotation?).  Some, no doubt, came for a bit of nostalgia remembering where they were when they first heard the original.  Some came to hear the creativity of local artists meeting such a challenge.

It would have been easy to simply do average covers of the songs and cater only to the nostalgia but Lyz Luke’s Undercover Presents, as usual, aimed higher than that (and hit their mark).  They, under the direction of guest producer Joe Bagale, curated a show of creative interpretations of each of the 13 tracks utilizing some of the finest of the massive talents that call the Bay Area home.  The end result was a true homage from another generation of marvelously diverse artists who put their stamp on the iconic songs without losing any respect for the power of the originals.

Simple but effective stage design by Bridget Stagnitto was reminiscent of the iconic album cover with creative lighting and functional information integrated into the tableau.  Ryan John and Brendan Dreaper were lead sound engineers.

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As is customary for these shows the bands played the tracks in their original order beginning with the Electric Squeezebox Orchestra’s instrumental cover of the opening track.  Principal trombone Rob Ewing’s arrangement captured the essence of that opening and effectively set the stage for what was to follow.

(Correction:  Per Joe Bagale the opening number was arranged by soprano saxophone player Michael Zilber.)

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Vocalist Dublin sang a bluesy solo version of “With a Little Help From My Friends”, those friends being the Jazz Mafia Accomplices

Guitarist Jon Monahan takes responsibility for this arrangement which veered just a bit off of nostalgia to deliver a very effective solo vocal version (the original you may recall had that call and answer thing going on) of this, one of the best known tracks on the album.  Though it was not obvious, perhaps there was some homage intended to the late Joe Cocker who first saw the bluesy potential here when he presented his justly famed version at Woodstock in 1969.

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Raz Kennedy made effective use of backup singers in his soulful take on “Lucy in the Sky with Diamonds”.  He shared arranging credit with Nick Milo.  The spirit of the Supremes, Gladys Knight (and of course the Pips), and maybe a touch of James Brown seemed to be present in the house and this arrangement got a great review from the audience.  What a voice!

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Eyes on the Shore shared arranging credits in their digital synth inflected take on Getting Better.  They went further afield with the material than some and may have briefly lost the pure nostalgia seekers but the arrangement clearly succeeded in pleasing the crowd. One would expect that psychedelia be transformed by the digital world, right?  And so it was.

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The Avant Jazz Funk duo of Scott Amendola on percussion and Will Blades on Hammond Organ (how’s that for nostalgia?) and Clavinet turned in a very intense and rich improvisational battle in their purely instrumental version of “Fixing a Hole”.  Sometimes the melody was there and sometimes it was transformed in a musically psychedelic way that went quite a distance from the original.  But the use of the Hammond Organ and Clavinet themselves provided reassurance that they wouldn’t go too far.  The performances were blazingly intense and the whole house felt it.

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We again were treated to soul with backup singers as Nino Moschella transformed the innocent ballad of adolescent alienation, “She’s Leaving Home”, into a more darkly hued version that seemed to reflect an understanding of the loss of that innocence that we all must face eventually.  Nothing somber here but clearly a different understanding consistent with the overall mission of having another generation’s way of remembering this material.

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South Asian music and philosophy are inextricably linked to the psychedelic sounds of the mid to late 1960s and nowhere is this more obvious than with the Beatles whose study of Transcendental Meditation with their guru Maharishi Mahesh Yogi (born Mahesh Prasad Varma 1918-2008) while George Harrison studied sitar with Pandit Ravi Shankar (1920-2012).

Rohan Krishnamurthy (Mridangam, Hadjira frame drum), Prasant Radakrishnan (saxophone), and Colin Hogan (keyboard) share credits for their creative instrumental arrangement of “For Mr. Kite”.  Eschewing lyrics (which are etched in most of the audience’s minds anyway) they performed a stunningly unique rendition of this familiar song. Interestingly these musicians trace their influences to the southern Indian Carnatic tradition (somewhat different from the Hindustani traditions which influenced the Beatles) adding yet another layer of richness to the evening’s goings on.

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Colin Hogan indicts himself yet again in his arrangement of “Within You Without You”, that spacey Hindustani inflected song.  The Hogan Brothers (Steve Hogan, bass; Colin Hogan, accordion; Julian Hogan, drums; Moorea Dickason, vocals; Charlie Gurke, baritone sax) turned in a marvelous world fusion rendition of the tune (lyrics and all) to a hugely appreciative response.

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Iranian born Sahba Minikia, steeped in both Iranian and western classical traditions provided a touching arrangement of the classic, “When I’m Sixty Four”.  Featuring Mina Momeni on guitar and vocals (on video) accompanied by the Awesöme Orchestra in a song whose premise looks to the future as far as this evening looked into the past to ponder the endurance of romance.

In retrospect it is almost surprising that the marvelous diversity didn’t generate a presidential tweet of dissatisfaction.  Indeed a woman singing would produce more than a tweet of dissatisfaction in Tehran, birthplace of photographer and singer Momemi who also teaches visual arts in Canada.

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Vocalist Kendra McKinley practically turned “Lovely Rita” into a feminist anthem with some retro pop group choreography and background vocals to boot.  The visuals and the energy of the performance practically had the whole house dancing.

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Soltrón added Latin percussion and energetic dance to the already electrified atmosphere with their arrangement of the raucous “Good Morning”.  Kendra McKinley could be seen and heard tying in her energy from the previous performance as backup singer here.

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Lyz Luke stepped in to introduce the penultimate Sgt Pepper Reprise.

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The dancing energy was carried on by the colorful and energetic dancers of Non-Stop Bhangra.  They accompanied Rohan Krishnamurthy and Otis McDonald in Joe Bagale’s rocking arrangement (replete with lyrics) of the reprise of the opening.  It was like a live action version of the studio executed original performance with a stage filled with ecstatic musicians and dancers.

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Joe Bagale in his Sgt Pepper duds sings the lyrics hoping we’d enjoyed the show.

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The apocalyptic, “A Day in the Life” concluded the mission of homage and nostalgia in a bigger than life tableau of talent and diversity that connected the “there and then” to the “here and now”.  The famous extended last chord crashed in a peak of energetic music making to bring the performances to a close.

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The visuals were strongly reminiscent of the iconic album cover.

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There was no need to encourage the audience to sing along to the encore of “All You Need is Love”.  Fifty years hence we still need it and if we still don’t have it everywhere at least we had it here this night.

 

Lavinia Meijer, New Superstar of the Harp Takes on Philip Glass



This is the ninth CD and the fourth Sony release by harpist Lavinia Meijer (1983- ).  This South Korean born artist was raised and educated in the Netherlands by her adoptive parents.  Her musical talent has earned her Cum Laude Bachelor’s and Master’s degrees in music and she has successfully pursued a career as both a soloist and an orchestral musician.  She appears to have a thorough grounding in both classical and contemporary harp repertoire and a passion for music.

In this double CD she presents her own transcriptions of ten of Philip Glass’ piano etudes and a second disc of music inspired in part by Glass’ style.  The Herculean tasks of transcribing and learning these etudes elicited collaboration with the affable composer and any Glass fan will want to hear her take on these pieces.

Meijer has chosen ten (of the now twenty) piano etudes for this album.  Now the harp is very close to the piano in many ways.  I believe it has basically the same pitch range and it does rely on strings and a sounding board.  However the playing of the instrument and the range of possibilities playable by two trained hands differs quite a bit.  There are problems on transcribing piano music for the harp.  It is not clear that all twenty can ever be successfully transcribed and played on Meijer’s instrument but this reviewer is truly grateful to hear the ten she has done and holds hope for the future that the remaining ten may find their way to a future release.  Her interpretation of these works help to provide the listener with insight to their complexities both technically and in their interpretation.  

The sassy neo-punk haircut on the album cover conjures comparisons in this reviewer’s mind of the hipness in both dress and presentation that characterized the wonderful Kronos Quartet, especially in their early days.   Indeed she does seem to be following a similar trajectory and Sony no doubt has hopes that she will establish a similar marketing niche doing for her instrument what the Kronos did (and continues to do) for the string quartet.  It certainly appears to be a safe bet.

One need only look to the second of the two discs to find Meijer championing some recent works written in contemporary styles that owe something to Glass’ compositional style.  The disc which includes Meijer’s take on portions of Glass’ Koyaanisqatsi score along with compositions by five other composers is definitely a lighter even more pop-inflected experience at times.  That is not to say that this disc is lesser in any way but that it does seem to be reaching perhaps for a younger audience less versed in the classical harp repertoire.  Classical music needs to embrace other genres as the very concept of genre becomes more divisive than useful.  Another Strategy reminiscent of the Kronos.  

Whether or not this album manages to attract a wider audience to the charms of her instrument it does serve to showcase the range of this artist’s technical skills and the delightfully broad reach of her repertoire.  This rapidly rising star seems poised to be writing a bright new chapter in the life of the concert harp, a truly exciting prospect.

Black Notes Matter: Lara Downes’ America Again


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Sono Luminus DSL-92207

The lovely cover photo for this album by San Francisco born pianist Lara Downes is reminiscent of any number of socially conscious folk/rock stars of the 60s and 70s. It would seem that this is no accident.  This delightful album of short pieces by a wide variety of American composers takes its title from the Langston Hughes (1902-1967) poem, Let America Be America Again (1935).  By so doing the pianist places this interesting selection of short piano pieces firmly in the context of black racial politics and the artistic expression of black America as well as those influenced by this vital vein of American culture (both musical and literary).  It is a graceful and deeply felt effort and I hope that the metaphor of the title of my review is not too tortured a one to reflect that.

This is also a very personal album.  Downes seems to share some deeply felt connections with her materials.  This artist, born to a white mother and a black father, invokes a careful selection of short piano pieces steeped sometimes in jazz and blues but also the political directness (and optimism) which was characteristic of the inter-war years that brought forth the Hughes poem.  There is both sadness and celebration in these virtuosic and technically demanding little gems (most apparently recorded for the first time or at least the first time in a while).  The pianist’s comments on each individual piece are also critical to the understanding of this disc as she shares the impact and meaning that the music has had for her.

There are 21 tracks by 19 composers in all and the selections themselves are quite a feat. They range from the 19th to the 21st centuries and are composed by both men and women of a variety of racial and ethnic backgrounds.  All seem to share the sort of  populist charm befitting the idealized America yearned for in the poem which is to say that they represent a kind of idealized or hopeful nationalism.  Downes is well acquainted with a large variety of American music and recognizes no distinction between classical and so-called “vernacular” traditions.

In fact none of these things are atypical for this artist.  Her previous albums Exiles Cafe (2013) featured music by composers exiled from their homelands, A Billie Holiday Songbook (2015) celebrated the life of this iconic black artist and her American Ballads (2001) demonstrated her deep mastery and affection for populist (but not jingoistic) nationalism.  Her tastefully issue oriented albums define a very individual path and the present album appears to be a very logical and well executed next entry into her discography.

This disc shares a similar heritage to that of Alan Feinberg’s four discs on Argo/Decca entitled, The American Innovator, The American Virtuoso, The American Romantic and Fascinating Rhythm: American Syncopation.  Another notable antecedent is Natalie Hinderas’ groundbreaking two disc set of music by African-American composers.

And now on to the music:

Morton Gould (1913-1996) was a Pulitzer Prize winning composer and conductor with a style informed by his study of jazz and blues in a vein similar to that of Bernstein and Copland.  He is represented here by American Caprice (1940).

Lou Harrison (1917-2003)  was a composer, conductor and teacher.  He was a modernist and an innovator in the promotion of non-western musical cultures.  His New York Waltzes (1944-1994) are three brief essays in that dance form.

The traditional folk song Shenandoah (apparently in the pianist’s transcription) is next.   This tune will be familiar to most listeners as a popular selection by choral groups and the melody is a common metaphor for things American.

Amy Marcy Cheney Beach (1867-1944) was one of the first successful female American composers.  Her “From Blackbird Hills” Op. 83 (1922) is representative of her late romantic style and her incorporation of Native American (Omaha) elements in her music.

Samuel Coleridge-Taylor (1875-1912) is a English composer with Creole roots, a black composer, known as the “African Mahler” in his day.  Deep River (1905) is his setting of this spiritual which also was one of Marian Anderson’s signature pieces.

Dan Visconti (1982- ) was commissioned by the International Beethoven Festival to write his Lonesome Roads Nocturne (2013) for Lara Downes.  It receives its world premiere recording in this collection.

Swiss-American composer and teacher Ernest Bloch (1880-1959) is certainly deserving of more attention.  His At Sea (1922) is used here to represent the sea voyages of the many immigrants (willing and unwilling) whose journey defined in part who they were.

George Gershwin (1898-1937) mastered both the vernacular tradition (as one of the finest song writers of the 20th Century) and the classical tradition in his too few compositions written in his sadly abbreviated life.  His opera Porgy and Bess (1935) is contemporary with the Langston Hughes poem mentioned earlier.  Downes most arrestingly chooses the arrangement of “I loves you, Porgy” by the classically trained iconic singer, musician and civil rights activist Nina Simone (1933-2003).  Quoting from Downes’ notes (Nina Simone expresses what she knew) “…about being a woman, being black and about being strong and powerless all at the same time.”  Indeed one of the most potent lines of the Hughes poem reads, “America was never America to me.”

Angelica Negrón (1981- ) was born in Puerto Rico and  now lives and works in New York. Her Sueno Recurrente (Recurring Dream, 2002) is a lovely little nocturne which is here given its world premiere.

Leonard Bernstein (1918-1990) held credentials as composer, conductor, teacher and ardent civil rights supporter.  His Anniversary for Stephen Sondheim (1988) is one of a series of Anniversary piano pieces he wrote.  Bernstein did much to help modern audiences (including this reviewer) comprehend the vital musicality of jazz and blues. Like Downes, he drew little distinction between popular and classical and celebrated all the music he believed was good.

David Sanford (1963- ) is a trombonist, teacher and composer who works in both classical and jazz idioms.  His work Promise (2009) was written for Downes and this is the world premiere recording.

Howard Hanson (1896-1981) was a conductor, teacher and Pulitzer Prize winning composer (though not at all an advocate of ragtime, jazz or blues).  His brief but lovely piano piece Slumber Song (1915) is a nice discovery and one hopes that it will be taken up by more pianists.

Scott Joplin (1867/68-1917) was discovered largely due to the scholarship and recordings of musicologist Joshua Rifkin (who incidentally did some arrangements for folkie Judy Collins) whose three volumes of piano rags on Nonesuch records introduced this wonderful black composer’s work to a wider audience once again.  Marvin Hamlisch famously incorporated Joplin’s music into his score for the motion picture The Sting (1973).  Downes chooses the Gladiolus Rag (1907) to represent this composer.

Irving Berlin (born Israel Isidore Baline 1888-1989) is another of the greatest song composers this country has produced.  In another characteristically clever choice Downes chooses the arrangement of this hugely optimistic song, “Blue Skies”(1926) by the great jazz pianist Art Tatum (1909-1956).

Florence Price (1887-1953) was a black female composer (the first to have one of her orchestral works programmed by a major symphony orchestra) whose work is only recently getting some much needed exposure.  Her Fantasy Negre (1929) is based on a spiritual, “Sinner, Please Don’t Let This Harvest Pass”.  Price was involved in the New Negro Arts Movement of the Harlem Renaissance and was professionally connected with Langston Hughes among others.

Aaron Copland (1900-1990) is perhaps the most iconic American composer.  Dubbed the “Dean of American Composers” his earliest work has strong jazz influences and his later work created the American romantic/nationalist sound incorporating folk songs and rhythms.  For this recording the artist chose the first of the composer’s Four Piano Blues (1926) which also appeared on her 2001 album of American Ballads.

Edward Kennedy “Duke” Ellington (1899-1974) was a composer and band leader whose sound virtually defined the Harlem Renaissance during his tenure at the famed Cotton Club.  Melancholia (1959) is the piece chosen here, again a nice little discovery.

Roy Harris (1898-1979) was, like Copland, a populist but the Oklahoma born composer studied Native American music as well as American folk songs.  His American Ballads (1946) was included on Downes’ American Ballads album.  Here she includes an unpublished work from a projected (but never finished) American Ballads Volume II.  This piece is a setting of the spiritual, “Lil Boy Named David”.

The album concludes with one of the ultimate hopeful dreamer songs, Harold Arlen’s (1905-1986) Over the Rainbow (1939) from his score for The Wizard of Oz (1939).  The adolescent yearning of Dorothy for something better than her dust bowl farm life touched a chord in many over the years and it is a fitting conclusion to this beautiful and hopeful collection.

As mentioned earlier the insightful liner notes by Lara Downes complement this production and tactfully position its politics.  She shares a personal journey that is as American as the proverbial apple pie.  The album is dedicated to the artist’s ancestors in recognition of their struggles as well as to her children in hopes that dreams for a better future can become their reality.

This beautiful sound of this album is the result of work of Producer Dan Merceruio and Executive Producer Collin J. Rae along with Daniel Shores and David Angell.  The lovely photography is by Rik Keller and as with the previous release Skylark: Crossing Over (reviewed here) the graphic design by Caleb Nei deserves special mention for its ability to truly complement this disc.

It is scheduled for release on October 28, 2016.

 

 

 

 

 

 

 

 

A shamanic effort to raise consciousness and further socially progressive ideas.

Traceur, American Music for Clarinet and Piano


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New Focus Recordings FCR-172

This is a nice little program of pieces for clarinet and piano by 20-21st century composers. It might even be a representation of the state of the art for this genre.  All of these pieces are basically tonal and would work well in a recital.

Michael Norsworthy, professor of clarinet at Boston Conservatory at Berklee has an impressive set of credentials in the interpretation and performance and teaching of new music.  This performing academic has quite a list of recordings to his credit.

David Gompper is a composer and pianist with a similarly extensive set of credentials in support of new music (his own and others’).

The disc opens with a six movement suite of short pieces by Robert Beaser (1954- ) called, Souvenirs (2001-2).  Beaser is one of the finest composers of his generation and his tonal style was a hallmark of his work from the very beginnings.  These short, personal sketches are a delightful example of his work.  These pieces were originally written for piccolo and piano and are here presented in the composer’s transcription for clarinet and piano.

The next piece, Black Anemones (1980) is originally for flute and piano and is a sort of modern classic (here is a recent review of the flute and piano version).  The Pulitzer Prize winning Joseph Schwantner (1943- ) is also among the finest composers working today. This transcription for clarinet by Mr. Norsworthy will most certainly guarantee further performances.  This is truly lovely music inspired by poetry of Agueda Pizarro.

Three American Pieces (1944-5) by Lukas Foss (1922-2009) are another sort of classic set of pieces.  These are early compositions in a neo-classical/nationalist style characteristic of this period of Foss’ compositional style.  It is great to have a new recording of these entertaining pieces.  Foss is due for a reckoning I think.

Marti Epstein (1959- ), also a professor at Berklee was represented in an earlier review of a disc (here) dedicated entirely to her gentle music imbued with memories of her upbringing in the great plains of the Midwest.  Nebraska Impromptu (2013) is characteristic of this composer’s gentle but substantial music.  Her website also contains a very interesting occasional blog that is worth your time.

Derek Bermel (1967- ) is here represented by schiZm (1993-4).  Originally for oboe and piano the composer also made this transcription for clarinet and piano.  Bermel describes some of the fascinating techniques that underlie the structure of this two movement piece but the result of those techniques is a very interesting piece of music.

Last but definitely not least is the title track Traceur (2014-5) by composer/pianist David Gompper (1954-).  It is the longest and most complex of the pieces presented and requires the most involvement on the part of the musicians as well as the listener.  I don’t mean to imply that this is difficult music because it isn’t.  It is substantial music whose charms demand close listening, an effort for which one will be rewarded.

This lucid recording was produced by Norsworthy and Gompper (with the assistance of Robert Beaser in the recording of his work).  It was recorded in 2015 with editing and mastering by Patrick Keating.  Very nice disc.  Highly recommended.

 

In Celebration of a Lost Culture: Sephardic Journey by the Cavatina Duo


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Cedille CDR 9000 163

This tasty little disc of world premieres commissioned through grants to Cedille Records in Chicago consists of new works which celebrate the culture of the Sephardim, the Jews of southwestern Europe, primarily Spain.  It both memorializes and resurrects the rich music of this all but lost culture.  In the last few years we have seen a growing interest in this culture through settings of texts in the original Ladino language as well as in the melodies which sprang from their folk traditions.

The Cavatina Duo consists of Eugenia Moliner, flute and Denis Agabagic, guitar.  Moliner is originally from Spain and Agabagic is originally from Yugoslavia (now Bosnia-Herzegovina) and they are husband and wife.  Both have a strong interest in the folk musics of their respective cultures and in exploring other folk music cultures.  Their previous album for Cedille, The Balkan Project, similarly demonstrates their affection and scholarship for the cultures of that region of the world.

Five composers were commissioned for this project: Alan Thomas (1967- ), Joseph V. Williams II (1979- ), Carlos Rafael Rivera (1970- ), David Leisner (1953- ) and Clarice Assad (1978- ).  This is one of those wonderful crowd funded efforts through Kickstarter.

Thomas’ contribution adds a cello (played by David Cunliffe) to the mix for this Trio Sephardi in three movements each of which is based on a traditional Sephardic song.  The piece makes good use of the vocal qualities of the songs quoted and the lyrics seem to exist as a subtext even though they are not sung here.

Isabel by Joseph V. Williams is a sort of homage to Isabel de los Olives y López, a Sephardic woman who lived during the time of the Spanish Inquisition.  She outwardly converted to Catholicism but lived secretly as a Jew.  One can hardly miss the sad irony of this tale of religious intolerance from the 15th century and its relevance for today.  This piece is based on a resistance song which masquerades as a love song, again a metaphor for our times.  It is scored for flute and guitar.

We move again into the realm of the trio, this time with violin (played by Desiree Ruhstrat), for this piece by Carlos Rafael Rivera called, “Plegaria y Canto”.  This is the most extensive single movement amongst all the works on the disc and is a deeply affecting and dramatic piece for which the composer’s notes provide insights.

The last two pieces utilize the forces of the Avalon Quartet for whom this is their second appearance on the Cedille label.  Their first disc, Illuminations, was released last year. They are currently in residence at Northwestern University and Cedille does a great job of promoting the work of talented Chicago area musicians.

Love and Dreams of the Exile is David Leisner‘s poignant contribution.  Its three movements tell an aching tale of love, pain and, ultimately, transcendence.

Clarice Assad is a Brazilian composer too little known in the U.S.  She is indeed related to the famed Assad family of musicians and she clearly has as abundant a talent.  Her Sephardic Suite concludes this program with this three movement essay on love and relationships.

Bill Maylone is the engineer with editing by Jean Velonis and the executive producer is James Ginsburg.  Photography of the Alhambra Palace by Maureen Jameson graces the cover.  Design is by Nancy Bieshcke.

This is music of an oppressed culture and it is tempting to look upon the creative impetus which oppression sometimes seems to provide but the message here is one of sadness and nostalgia but also of hope.  It is perhaps a tribute to the ultimate triumph over said oppression even if it took 500 years.  There is some comfort and healing to be had from the celebration of this lost culture and that is the triumph of this disc.

 

 

 

A Really Great Brass and Organ Album, Chicago Gargoyle Brass and Organ Ensemble


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MSR Classics MS 1598

At first this disc seemed to be one of those “audiophile spectacular” niche market items designed to show off one’s stereo system.  I expected a well-recorded album with wide dynamic range and a clarity that would stun the listener but these types of albums frequently have well-recorded but uninteresting music or, worse, cloying showpieces that don’t bear repeated listening.

The first listen dissuaded me from that notion immediately because this is interesting and well-played music.  Except for three clever transcriptions of late 19th/early 20 century pieces all the music is from 2005-2013 (as are the transcriptions for that matter).

The music is, on the whole of a somewhat conservative nature but that is not a negative thing.  All of the music is pleasantly engaging and/or downright exciting.

The first four (of a total of 15) tracks present the music of Carlisle Sharpe (1965- ).  The first work Flourishes (2005/10) is a festive fanfare which was revised for this ensemble. The next three tracks contain the Prelude, Elegy and Scherzo (2012) is a commission by the present artists.

Next we move on to one of the arrangements by Craig Garner (1959- ).  This is, I think, a difficult arrangement to play but is handled with such ease by these players that one could be fooled into thinking it was easy.  The arrangement of the popular drinking song from Verdi’s La Traviata (1853) is a lucid and detailed transcription.  It is the clarify of the recording that makes this obvious as we are able to hear the various challenging lines that allow pretty much everyone in the ensemble to demonstrate their facility.

William Whyte (1983- ) is the next featured composer with a satisfying little suite called Dwarf Planets (2012).  It is in five brief movements.  The piece was also commissioned by and dedicated to Chicago Gargoyle Brass and artistic director Rodney Holmes.

Earthscape (2011) by David Marlatt is cast in a similar vein and, with the previous five tracks these are effectively musical appendices to Holst.  Marlatt, a Canadian composer has written this lyrical piece for the Gargoyle Brass.

Tracks 12 and 13 are another great transcription of a type of work which conductor Sir Thomas Beecham was fond of calling “bon-bons”, an appellation that was a proto-pop concert concept describing short, popular encore pieces.  It is the Polka and Fugue from “Schwanda the Bagpiper” by Jaromir Weinberger (1896-1967), a Czech composer whose reputation lies pretty much entirely on this work.   Originally for orchestra, this engaging work is very effectively arranged for this ensemble.

Tracks 14 and 15 comprise another transcription, this time of two movements from Camille Saint-Saens’ (1835-1921) 3rd Symphony (1886).  This is another truly great piece of music that always plays well with audiences.  The original is for a large orchestra and an organ.  The transcription is remarkably faithful to the score and it’s hard not to get hooked on that finale.  The entire symphony is actually based on the “Dies Irae” chant from the Requiem Mass though this is not a somber piece at all.

The last track is Velvet Blue (2012) by Peter Meechan (1983- ), a British born Canadian composer.  Originally written for a “rock” organ (the Hammond variety) and here played on a traditional pipe organ this is one of the most unusual pieces here.  It’s blues/jazz inflections harken back to big band sounds of the 1930s.

Brass instruments and organs are not instruments known for their agility.  Combine that with the resonant recording space of the churches involved and you have some serious engineering challenges.  Hudson Fair at Hudsonic has met these challenges and succeeded in capturing these performances in lucid detail with a true audiophile recording.  The dynamic range is wide and the the recording is about as clear as I have ever heard done  in this setting.

The musicians Lev Garbar, trumpet; Andrew Hunter, trumpet and flugelhorn; Amy Krueger, horn; Kathryn Swope, horn; John Grodrian, trombone; Graham Middleton, trombone; Ryan Miller, trombone; Andrew Vandevender, tuba; Paul Ramsler, tuba; Joshua Wort, tuba; Michael Schraft, tympani and drum set; Jared Stellmacher, organ; Mark Sudeth, piano; and Steven Squires, conductor all play with precision, lyricism and feeling.

One more piece of what I call “audio porn” is nicely included, the statistics on the two beautiful organs played at the two churches where these recordings were made.  Nice touch. Great fun album.

 

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.