Focus: John Cage – February 2, 2012

Focus : John Cage – Sounds Re-Imagined     Paul Hall, Juilliard School      February 2, 2012

Could only get to one of this year’s Focus evenings, oh well.  John Cage gets you thinking about new ways of listening to music, to question the boundaries between sound and music (if there is indeed such).  “Six Melodies for Violin and Keyboard”, performed by Garlick and LaNasa, has elements arranged by chance.  The “instrument” for “Child of Tree”, performed by Funcheon, is listed in the program as “for amplified plant materials”.  I guess there is also some thinking about what exactly constitutes a title for a performed piece.  Trying to explain this uncertainty would merely generate another level of uncertainty, so I will not attempt it here.  Anyhow, the score for this latter piece allows for improvised creative input from the performer.  A table containing various plant (and I think mineral) materials, including a small cactus, was wheeled out, amped with several microphones, and then the various materials were manipulated to produce sounds.  For an appropriate final touch, after the table was wheeled off stage following the performance, two members of the stage crew then had to wipe up small residual water puddles on the stage.

James Garlick and Nathaniel LaNasa

Andrew Funcheon

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Mitch Katz – January 14, 2012

Mitch Katz – Unitarian Universalist Congregation – January 14, 2012

Needed to take a somewhat lengthy hiatus, first to tend to making the holiday card (will at some point get these up on line, but not now), and also some music stuff of my own keeping me creatively otherwise busy.  But in the spirit of playing out more, went to HudsonValley Folk Guild Rock Tavern chapter open mike to premiere my latest opus.  Singer-songwriter Katz was the headliner, so I had enough time to do a decent job on him.  He demonstrated that yes, it is possible to play the blues on the ukulele.  That was his axe during the two songs when I was getting around to that part of the sketch.  Other performers did two songs, but in a round-robin fashion, so it wasn’t practical to put together enough consecutive time for others.  Oh well.

Mitch Katz

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Miguel Zenón – November 10, 2011

Miguel Zenón  –  Harlem Stage, Gatehouse Theatre – November 10, 2011

Carnegie Hall’s Weill Music Institute has introduced me to an incredible assortment of venues, and this one was as stunning as any – The Gatehouse is a former component of the city’s water supply system, and the theater is upstairs in the tower section.  Zenón is a recent recipient of the MacArthur “genius” grant, and his combo has a seamless high energy approach to his latest project, Alma Adentro: The Puerto Rican Songbook.  Cole’s drum solo was especially noteworthy, full of sharp attacks and false anticipations.

Miguel Zenón

Luis Perdomo

Hans Glawischnig

Henry Cole

Miguel Zenón Quartet

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Occupy Wall Street – November 8, 2011

Occupy Wall Street  –  Zuccotti Park  –  November 8, 2011

An opportune confluence of circumstances made Election Day an exceptional sketch haul.  I subwayed down to Zuccotti Park from the Upper West Side, having found out that Graham Nash and David Crosby would be appearing at Occupy Wall Street at 3.  I arrived plenty early, grabbed a 99% button (courtesy of the bearded guy with the hat, see below), and bivouacked at Cedar & Broadway.  I did some singalong with the street musicians – songs of Guthrie and Seeger.  The ensemble had an additional two or three players, including a guy on the spoons – when’s the last time you saw a band with that kind of action?  They also played (at least 3 times) the original “Marchin’ Down to Wall Street”, composed by Richard Kent Green, which was included in his singalong lyrics handout sheet, and reproduced here without permission (but with righteous attribution).  Alas,  they moved on before full sketch closure was achieved.  Then I got a little overly involved in sketching the occupants and spectators (all the day’s Zuccotti work was done from standing room only).  These diversions, pleasurable as they were, resulted in being unfavorably positioned once I became aware of the precise location of the “star” action.  Here the crowd was tightly packed, with sketch conditions suboptimal to say the least.  At one point my eraser dropped, and the helpful guy next to me picked it up for me.  He could see the value of sparing everyone the adventure of me stooping, reaching, and getting up in short order.  There was an obscene amount of video cameras and gear, with some rigs being held up overhead, thus impeding viewing for live eyes.  I didn’t take no shouldering from no one.  Since no electric-powered amplification of music or voice is allowed in the park (hence the human microphone – I was a participant in a few communiqués), the subsequent news account that I saw – they were “audible to 99” – kind of rang true, in a subdued way.   Little did I know there was also a melodica accompanist on the stage!  I was close enough to be able to join in on more singing along, to “Long Time Gone” and “Teach Your Children”.   Wisely, I didn’t push my envelope on lyrics, and stuck to the choruses.  Only the sketch effort on Crosby proved worthy, and autographing was never a serious consideration, whisked to and then away in a black van.

Richard Kent Green

Alan Gilbert

Dennis Gronim

Occupiers 1

Occupier 2

Occupier 3

Occupier 4

Occupier 5

David Crosby

Occupy Wall Street!

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Orion String Quartet – November 6, 2011

Orion String Quartet  –  Cole Auditorium, Greenwich Library – November 6, 2011

We’ve been seeing these guys intermittently over the past dozen or so years.   The level of quality is consistently high, and while they focus on classical, they are not averse to adding a dash of modernism here and there (Webern on this particular day).  Believe it or not, the sounds made by sketching can be audible and disturbing during quiet passages, and I had never found the settings of previous appearances (at Mannes School) to be conducive to sketching.  I took liberties at the more familiar and forgiving Cole Auditorium to have at it.  Patter between pieces is unpredictably charming.  The violinists are brothers, and they switched positions after the intermission, so I had to re-do one of the sketches based on the new positioning.

Daniel Phillips

Todd Phillips

Timothy Eddy

Steven Tenenbom

Orion String Quartet

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Bridge Records 30th Anniversary – October 20, 2011

Bridge Records 30th Anniversary  –  Bruno Walter Auditorium  –  October 20, 2011

Bridge Records is an independent label that started out small and quirky, and has kept going without losing its quirky charm.  The main emphasis is new music (in the classical sense) but includes a wide range of genres.  It is run by the Starobin family; patriarch David is a guitarist, so this emerged as an outlet for his own music, but it really seems to be a stable of musicians respecting and caring for each other.  Hsin-Yun Huang performed (with pianist Sarah Rothenberg) the premiere of Poul Ruders’  “Romances”; since the composer was in the audience, I got his autograph on the sketch as well.  Starobin himself teamed up with percussionist George Crumb for the latter’s “Mundis Canis”.  The lobby had related artifacts on display including a score of Porgy and Bess signed by all the the principal collaborators listed on the title page, with an especially bold imprint by George Gershwin.  As a bonus, excellent noshes were provided afterwards in said lobby.

George Crumb & David Starobin

Hsin-Yun Huang

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Ben Allison – October 16, 2011

Ben Allison Trio  –  Abrons Arts Center  –  October 16, 2011

The Abrons Arts Center is part of the Henry Street Settlement on the Lower East Side.  Our concert-going history there goes back to at least the early 80’s, though this was the first one that was outdoors, also the first that I sketched.   I probably hear Ben Allison’s music – snippets only – on the radio more than any other artist, because he composed the theme to NPR’s “On the Media”.  That tune was not on the agenda here.  Only when he signed did I realize that he’s a lefty bass player, though he plays it “righty”.

Ben Allison

Steve Cardenas

Rudy Royston

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Kurt Elling – October 1, 2011

Kurt Elling  –  Skinner Hall, Vassar College  –  October 1, 2011

I kind of miss the old pre-colored-pencil days of dealing with watercolors at the concerts, so I stay alert for opportunities to get back with the wet.  I’ve had good luck before at Skinner Hall, especially if I get in the front row and have some roominess in front of me.   I came prepared for either medium, and got the front row, so there was no stopping me.  Toots not especially happy with the seating arrangement, as it involved looking upwards to the stage and she has the disadvantage of not having my height.  So the back players (especially drums & piano) not very visible to her.

I’m not sure quite who to compare vocalist Elling to; maybe in a sense Betty Carter.  Instead of a distinctive style, he does a lot of little different things, he’s got the pipes and range for all of them.  He started off unaccompanied for a tune, so that’s a statement right there.  He lets his players stretch out, and gets around to go (literally) face-to-face with them, goading them with scat mongrelized with percussive vocal sound effects into some interesting dialogue action.  Except not so much with his pianist Laurence Hobgood, who’s been with him long enough so that their rapport is second nature.

Several technical problems associated with painting remain to be solved.  One is that this paper (I’m breaking it in, or vice versa) comes as a tablet pad, and the top sheet cannot be separated from the rest without running a blade around the perimeter, something I’m unlikely to do while sitting in the audience.  Second, the paper has so much tooth (rough surface texture) that the autograph pen I use does not smoothly dispense ink to form the type of crisp signature that I favor, especially with some of these hasty and stylized flourishes.  And the paper size is just a smidgen bigger than the scanner platen, so the illumination for the scan has got to have some unevenness (wow, what a word that turns out to be!) to deal with. It’s always something.

Kurt Elling

Clark Sommers

John McLean

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Eric Andersen – September 18, 2011

Eric Andersen  –  Ossining Public Library  –  September 18, 2011

Venues for music come and go; happily, Ossining Library is becoming a more prominent player.  This was our second visit this year, and there appears to be momentum to keep its live (and appealing) music series active, at least for the near future.  Andersen was once nearly on a par with Dylan back in the Greenwich Village folkie days.  He’s kept the singer-songwriter career going at a certain level of diminished glory, but the keeping-going part is good to know.  His somewhat self-effacing and semi-audible-at-best stage patter made it difficult to appreciate the observations presented between songs.  I really dug his song about busking in Europe.

Eric Andersen

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String Force – September 4, 2011

String Force  –  Governor’s Island  –  September 4, 2011

This recital was the final installment of the “Rite of Summer” music festival on Governor’s Island, featuring some up-and-comers working the solo piano and piano/violin duet formats.  Goldberg is active in developing new (read: less stodgy) venues for classical music, vital to the vibrant  NYC scene, including this one with co-director McMillen.  The above use of the term “classical” is kind of loose, since of the 6 composers represented in this concert, only one was born before 1900, and 4 are still with us.  Cuckson & McMillen closed out with a highly spirited rendition of John Adams’s “Road Movies”.

Nurit Pacht & Pam Goldberg

Blair McMillen

Miranda Cuckson

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