Henceforth Records

Works with guests Marty Ehrlich, sax and clarinet; Jerome Harris, bass guitar.

Works and guests

Michel Gentile, flute; Daniel Kelly, piano; Rob Garcia, drums.

Brooklyn Conservatory of Music

This is a monthly series presented by Connections Works who invite different musical guests to join them each month.
The first time I have been to this venue and it works well: good stage, wood floors, seats about 60-80 people. The compositions were mostly by each of the performers, opening with “Kim” by Marty and ending with “Fiasco” by Paul Motion, in his honor. During intermission Daniel led an interview and Q&A with Marty and Jerome where they talked about their history from 1973 when they were students at New England Conservatory. As just part of their history, both played with Julius Hemphill, Jerome played with Sonny Rollins for 13 years and Marty with Andrew Hill for 5 year. The music this night was just what I needed: a time to just sit back and enjoy. The musicians even smiled too.

Marc Ducret, Tim Berne and Gerald Cleaver at The Stone

Marc Ducret

Trio of Marc Ducret, guitar; Tim Berne, sax; Gerald Cleaver, drums

I was particularly looking forward to this concert because of Marc Ducret’s participation who I had not heard live before. Stephane Berland, of Ayler Records, and I have become email friends and he sent me some of Marc’s CDs. I was not disappointed. Marc played guitar with great technique, imagination and style, some of which I had never before heard. Tim and Gerald played with their usual excellence.

Big Dance Theater in “Supernatural Wives”

Brooklyn Lights

BAM Howard Gilman Opera House

Here was a dance/theater performance that was terrific, had a serious story to tell but was also fun. There was an interesting and informative pre-performance talk with Paul Lazar, Annie-B Parson Co-Directors – Parson is also the Choreographer – and Anne Carson, translator of “Alkestis” written by Euripides in 438 BC. Since I know nothing about Greek Mythology, the talk was very helpful. Lazar, when asked about the name “Supernatural Wives,” he said truthfully that it was for marketing purposes as Greek Tragedy is not always a big draw! One of the quotes I liked, or at least took notice, is “We are all debts owed to Death.” This is a mythic tale of King Admetos who avoids death by arranging to send a surrogate to die in his place. His wife, Alkestis, volunteers for the assignment; hence the drama unfolds. The panelists talked about psychological and mythical differences and how Euripides leaves one in the midst of life questions and how the severe and relentless shifts between comedy and tragedy are portrayed throughout the performance. The performance opened with Big Music, rock and roll-like; the women in pants and the men in skirts — off to a good start. The cast consisted of 3 women and 3 men. The role of King is performed by Molly Hickok so messing with gender roles seemed part of the play. I was impressed and entertained by the whole deal: the acting, the dancing, the story, the costumes, the videos and the music, some of which was our BoaC guy, David Lang. He does such interesting work, including the music for one of my favorite movies, “Untitled.” Hercules makes an impressive appearance loudly playing a drum set, flexing his big muscles and being oh so manly (and funny too). Chris Giarmo, one of the dancers was also a fabulous singer. In the notes it mentions he is also in Muhly’s new opera, “Dark Sisters” and is working on his first album which I plan to buy. Overall a good night. Love those.

“Angel Reapers”

Joyce Theater

I really wanted to like this dance performance by Choreographer Martha Clarke and Playwright Alfred Uhry mainly because my friend Whitney Hunter was one of the dancers and I was his guest this evening. I saw the Tero Saarinen Dancers perform their magnificent performance, “Borrowed Light,” also about Shakers so it was hard, no impossible, not to compare the two performances. Both companies had Shaker traditional spirituals sung a cappella music, for instance, “A Gift to be Simple.” However, Saarinen’s singers were the Boston Oratorio and Clarke’s were the dancers. The Clarke costumes were boring while Saarinen’s were long black cape-like outfits which whirled gloriously. http://www.terosaarinen.com/en/works/all_creations/ Saarinen’s piece showed beauty along with the simplicity.

My biggest complaint with Angel Reapers was conceptual. Often during this performance, the Shakers were made to seem down-right crazy and really portrayed only suffering and strife. Now I am not at all religious but I do think that the Shakers, the Quakers and the Mennonites were/are peace loving people and there was more to their lives than angst. One happy spot was where Whitney portrayed his character’s worship by a joyful dance, the only joyful movement of the night. Another interesting, I guess, minute was when three of the male dancers appeared on stage naked except for their boots. Why, I have no idea, but then again male dancer’s booty is nice to see.

The Rockettes Christmas Spectacular

Radio City Music Hall

Now, mind you, as a “new music person,” I wouldn’t have ordinarily attended this BUT I am so glad I did. Mary Rowell is the concert master of the orchestra and she kindly got me two tickets for the 11 am show (there are five shows a day). It was truly spectacular from before the curtain rose until the very last leg kick. The show has been running since 1933 and the hall used to be the largest in NY and the curtain the biggest as well. I won’t even try to describe the show so take a look at the photos. I will say it opened with two organs moving into view from the sides of the hall and playing, of course, Christmas songs. Henceforth, glorious sets including 3-D videos, dancing, costumes, songs, music. The only flaw was the ubiquitous ads especially from Chase Bank. However, the whole show was highly professional, beautifully produced and really fun. You should all go some year.

Amy X Neuburg @ Cornelia St. Cafe

Cornelia Street Cafe and painter of it

Amy X Neuburg – voice and electronics

Although Amy is from San Francisco, I had never heard her perform a whole set so it was great to hear the wide range of her repertoire. She often enhances her singing and vocalizing with looping and very cool electronic effects. What I particularly liked is how she incorporates the electronics into the performance rather, than as so often one sees,
heads buried in the equipment. One Schubert inspired piece she sang along with her past 24 year old self. Another song began with the looping sounds of her brushing her teeth on stage. The songs were both clever and lovely and a treat to hear. We met for lunch the next day and I asked about some of her gear: Drum Kat – midi drum pad. This has 12 physical pads but many more available with the click of a switch. She plays these pads with drumsticks which adds to the great visual as well as aural performance.

Le Train Bleu at Galapagos

John Luther Adams “songbirdsongs” (1974-1980)

Who knew you could feel immersed in nature at a Brooklyn club. John Luther Adams along with the five percussionists and six piccolo players of Le Train Bleu accomplished this with special thanks to Ransom Wilson, flutist (and piccoloist), who formed the ensemble in 2011. The musicians were on the front stage and spread around the three sides of the balcony; this arrangement encompassing the audience in sound. Many mention Adams’ affinity with minimalism but I don’t quite see/hear it that way. His music, this composition included, fills all the spaces (even Morningside Park with “Inuksuit”) with glory, not a word I used lightly. The piccolos, of course, created the bird songs and the percussion, including the marimba, glockenspiel, xylophone, gongs, tom toms, triangle, bass and kettle drums, added timbre and texture which resonated all around us. There were nine movements which flowed together, each accompanied by different visuals on the screen at the back of the stage and on two banners above the seating area. All were, of course, beautiful nature scenes, except one, the penultimate movement, the only disturbing movement, which began with a loud bass drum behind us, with kettle drums and clappers on stage, birds wildly chirping. The visuals portrayed a man chopping down trees: nature disrupted and destroyed. The final movement brought gentleness back to the fore with a violin in the center of the room and along with the other musicians created a shimmering winter scenario with bowed cymbals, kalimba, large and small chimes; nature’s seasons completed.

NYTimes review: http://nyti.ms/sWZWmo

Thanksgiving with Theo Bleckmann and Preston Bailey

Thanksgiving at Preston Bailey and Theo Bleckmann's

It was a lovely evening with their friends and family. Everything was delicious including the food. But even more than the decor and the dinner was the warmth and graciousness. Only thing missing was my California/Montana family.

Robert Ashley reading at St. Mark’s Bookshop

Kyle Gann

Have I said often enough that I love Robert Ashley? Well, let me reiterate – I do. He was introduced by Kyle Gann whose book, “Robert Ashley” will be available this Spring. Gann described Ashley as “magnificently calm and profoundly imaginative.” His writings are really “epic poems, meant to be read aloud.” That is what I have found to be true for me in reading his books. Ashley read from his new novel and soon to be opera, “Quicksand.” Even if I didn’t like what he said which I do, his voice is mesmerizing: the pacing, the lilt. He also read beautifully from “Atalanta: Acts of God.” A small audience of devoted followers were there on a rainy night.

Arts for Art – Creative Sounds of Dissension

Richard and Roberta Berger

Clemente Soto Velez

7:30 pm
JD Parron, sax, bamboo flutes, kalimba and a gorgeous bamboo sax, and William Hooker, drums.

It was nice to see and hear JD again. He played some sax, kalimba and and some bamboo instruments. The big issue for me was that Hooker played really loud most of the time which tended to drown out JD. Something was amiss with this room as the music was way-too loud for the space. I was not alone with this impression.

8:45 pm
Darius Jones, sax; Adam Lane, bass; Jason Nazary, drums.

The same held true for this set acoustic-wise. The difference was Adam and Jason modulated the volume so we all weren’t quite so blasted out. However, I tried staying for all the second set but failed as my ears couldn’t take it anymore.