For the past 24+ years, I have hosted "N'Shoma" on radio station WMRD-AM1150 (Middletown, CT), simulcast on WLIS-1420Am (Old Saybrook, CT). When the show debuted on the first Sunday in November 1996, I walked into the station with 20 albums and 15 CDs. With a few exceptions, most of the recordings were by members of the 1970s-80s "Klezmer Revival". Besides Andy Statman and The Klematics, I owned several albums by the Boston, MA-based Klezmer Conservatory Band. Organized in 1979 by educator, ethnomusicologist and multi-instrumentalist Hankus Netsky (pictured above, a graduate of and long-time faculty member of the New England Conservatory), the ensemble (which has ranged between nine and 14 members) began appearing up and down the East Coast. Their debut album, "Yiddish Renaissance", was issued in 1981 and they have since appeared on 17 other recordings and compilations. In 1995, the KCB joined forces with The Klezmatics (co-founded by former member Frank London), Brave Old World, and the Andy Statman Klezmer Orchestra to support Israeli-born classical violinist Itzhak Perlman in his project exploring Klezmer titled "In The Fiddler's House" (EMI Classics/ Angel Records). The KCB's relationship with Maestro Perlman continues to this day!
Photo: Matt Cavanaugh (The Boston Globe)
Around the same as the KCB formed, a student of Yiddish Literature named Aaron Lansky founded the Yiddish Book Center in Amherst, MA. Located on the edge of the campus of Hampshire College, Lansky and his staff began to collect books written in Yiddish –– in fact, the Center has since expanded to house over a million books (!) as well as digitizing 12,000, making these books available to scholars and interested readers around the world. As the YBC expanded, they made room for author talks, concerts, plays, movie series, and more.
The KCB and The YBC will celebrate their respective 40th anniversaries this Sunday afternoon–– the press release is below –– on Sunday morning at 11 am, I'll play an interview with Hankus Netsky on "N'Shoma" to whet your appetite even more to join that afternoon's ZOOM event.
On Sunday, January 24 at 2 p.m. EST, The Yiddish Book Center looks back on the history and evolution of the Yiddish revival with The Klezmer Conservatory Band and the Yiddish Book Center: Forty Years in Yiddishland, a video special celebrating the 40th anniversary of these two enduring institutions pivotal in spearheading the unprecedented international resurgence of Yiddish culture. The event is free and open to the public. It will be presented via Zoom and will stream live on the Yiddish Book Center's Facebook page. To reserve a virtual seat in the Zoom audience—which will allow you to submit questions—registration is required: https://us02web.zoom.us/webinar/register/WN_DayizEJ1TxyKDUPqV8fVrQ
The broadcast will feature KCB founder and director, New England Conservatory Contemporary Improvisation Department Co-chair and former Yiddish Book Center vice president for education Netsky and Lansky, the Center’s founder and president. It will include an historical overview of the band’s history along with video concert footage from over the years, including excerpts from acclaimed productions including “A Jumpin’ Night in the Garden of Eden” (1986), “The Fool and the Flying Ship” with Robin Williams (1991), and two PBS Great Performances Specials, “In the Fiddler’s House” with Itzhak Perlman (1997) and “Rejoice" (2014) featuring the KCB along with Perlman and Cantor Yitzchak Meir Helfgot. The program will present Netsky and Lansky in conversation with L.A. Times and NPR film critic Ken Turan, along with tribute greetings from well-known KCB collaborators, including Itzhak Perlman and Joel Grey.
The Klezmer Conservatory Band and the Yiddish Book Center: Forty Years in Yiddishland will explore how forty years of activism has assured Yiddish literature and music an enduring place not only in the world of Jewish culture but among the world's most cherished cultural traditions. This event is co-sponsored by KlezKanada, Golden Land Concerts & Connections, Yiddish New York, Center for Traditional Music and Dance, the American Society for Jewish Music, Boston Workers Circle, Boston’s Jewish Arts Collaborative (JARTS), and National Yiddish Theatre Folksbiene. The program is made possible in part with the generous support of Peter D. Mark in loving memory of Eugene L. Mark.
This Saturday June 3, vocalist, lyricist, and composer Allegra Levy performs at 8 p.m. in the Polish National Home, 60 Charter Oak Avenue/Pulaski Plaza, in Hartford. The West Hartford native is celebrating the release of her second album, "Cities Between Us" (Steeplechase Records), a delightful album that finds the vocalist fronting a ensemble that features Kirk Knuffke (cornet), Stephen Riley (tenor saxophone), Carmen Staff (piano), Jay Anderson (bass) and Billy Drummond (drums).
I spoke with Ms. Levy around the time (late 2014) of the release of her Steeplechase debut. She was living and working in Hong Kong China. That nearly year-long residency was her "dues-paying" gig (she now lives in New York City) and one can hear in the songs she wrote for the new album. Her mentor at The New England Conservatory, where she studied before going overseas, was trumpeter John McNeil, who has worked with a number of fine musicians and vocalists - it's clear from the start that Ms. Levy knows what she wants from her musicians and herself, setting challenges such as writing lyrics to the songs by Duke Jordan ("Lullaby of the Orient") and Dexter Gordon ("Soy Califa") and deciding that the majority of the material are original pieces. Also, many of the songs stretch out so that not only are the melodies well-constructed but also the solos have time to develop. The lyrics speak of her separation from her friends, family, and lover and are extremely mature for someone who is but 27 years-old. Despite the sadness inherent in the much of her lyrics, the music has various moods ("Misery Makes the Music" is a pleasing tango while the delightful "Soy Califa" is a hard-bop delight).
Ms. Staaf will be on piano for the Hartford concert along with West Hartford native Tim Norton (bass) and former West Hartford residents Richie Barshay (drums) and Joel Frahm (tenor saxophone) both of whom graduated from Hall High School (as did Ms. Levy). It should be a delight to hear the vocalist working with Mr. Frahm as he is one of the best and sensitive accompanist a singer would ever want.
Hard to believe that it's been 13 years since composer, arranger, and trumpeter Ken Schaphorst has released an album. It's not like he hasn't been busy - since 2001, Schaphorst has been the chair of jazz Studies at the New England Conservatory of Music in Boston, MA. He moved back to the East Coast after 10 years as the Director of Jazz Studies at Lawrence University in Wisconsin.
His new album, "How To Say Goodbye" (JCA Recordings), is his first large ensemble recording since 1998's "Purple". The Big Band features 18 musicians, most of whom have worked with the composer in the past including three of his NEC students. The rhythm section is stellar and includes Matt Wilson (drums), Jerry Locke (percussion), Uri Caine (piano), Brad Shepik (guitar), and Jay Anderson, arguably the best contemporary large ensemble bassist. The reed section includes Donny McCaslin (tenor sax), Chris Cheek (tenor sax), Jeremy Udden (alto sax), Michael Thomas (alto and soprano saxes, clarinet), and Brian Landrus (baritone sax and bass clarinet), the latter two being former students of Schaphorst at NEC. The brass sections include the trumpets/flugelhorns of Tony Kadleck, Dave Ballou, John Carlson, and Ralph Alessi while Luis Bonilla, Jason Jackson, Curtis Hasselbring, and Jennifer Wharton play trombones (Ms Wharton on the bass 'bone).
necmusic.edu
Over the course of the 10 tracks (70+ minutes), one hears a multitude of ideas and the overall feeling one gets is that much of this music has its foundations in the blues (the blues as Duke Ellington, Count Basie, Woody Herman, Bob Brookmeyer, and Herb Pomeroy employed it). Both of the last two composers were mentors of Schaphorst and each has a song in his honor in the program. "Blues for Herb" is a vehicle for McCaslin's tenor and powerful surges of the rhythm section and the horns. "Take Back The Country" is a sly up-tempo blues that takes its title from Brookmeyer's political stances. Instead of a scree (as one might have read in the late composer's blogs), the piece has a sweetness, a lightness that one hears in the brush work of Wilson and the guitar work of Shepik. Bonilla and Landrus create delightful solos but the the highlight of the track and the album (for me) is the Carlson's flugelhorn solo over Wilson's high-hat and Anderson's one-note percussive throb. When the reeds and the brass enters, the piece takes on a gospel feel that is irrepressible.
necmusic.edu
This is an album with a surplus of wondrous moments. Whether it's Udden's solo on "Floating"or the composer's gentle Fender Rhodes intro to "Mbira 1" (once the ensemble joins in, the piece is infused with sweet South African rhythms), the music breathes. There is a gentle quality to the swing of "Green City" (a touch of Thad Jones in this arrangement) and Cheek creates a long yet emotionally rich solo. The brass and reed sections kick the piece up several notches in the final two minutes but not at the expense of the swing feel. Shepik and Leake create a loping rhythm for "Mbira 2" over which the ensemble plays a handsome, percussive, melody. The guitarist takes the first solo, moving in and around the rhythm section with ease before giving way to a fine trombone spot from Jackson.
"Global Sweat" follows and its slow pace plus trance-like feel in the rhythm section leads the listener into darker territory. The somber work of Cheek and the composer (on trumpet here) atop the ominous chords soon drop into a bluesy pace for Schaphorst to continue to solo as the other trumpets play behind him. Listen for the various musicians interpreting the melody behind as Caine carries on and Wilson pummels the drums. It's a long slow build to the finish, the friskiness dying out so the music can land somewhat softly. The final track, "Descent", is no downer, opening with a swell of brass and horns before Caine takes off on a delightful romp of a solo with just Wilson's dancing drums and Anderson's racing bass lines as companions - the arranger puts in a pair of short stops, almost a call-and-response, then a riff-filled section before Alessi steps out over cymbals and Caine's rich chordal work. He continues to dance as Leake adds tabla drums, the brass and horns play little circular lines a la Steve Reich before the piece changes and Wilson frolics as there sections roar alongside. A rapid-fire melodic fragment takes the piece to its abrupt finish and one is left waiting, wishing, for more.
If "How to Say Goodbye" had been released in any other month but December, the album would possibly have made numerous "Best of" lists. Many lists for the year run from Thanksgiving to Thanksgiving and December albums often get short shrift. Do not pass this album by - there is not a weak track, plenty of great solos and arrangements that have a richness and intelligence for the most sophisticated listener as well as someone who loves good music. One hopes it's not 18 years before the next album by the Ken Schaphorst Big Band. Please!
Composer, arranger, conductor and multi-instrumentalist Kyle Saulnier leads The Awakening Orchestra, a 19-member ensemble whose 2014 Innova Recordings debut, "Volume I: This Is Not The Answer", was an expansive project that sounded unlike any other large ensemble other than Joseph Phillips Numinous Orchestra and, at certain times, Darcy James Argue's Secret Society. The Orchestra's new recording is a track-by-track reimagining of guitarist/composer Jesse Lewis's 2008 album "Atticus." Titled "Interlude: Atticus Live! The Music of Jesse Lewis", the album is one of the initial releases on pianist Fabian Almazan's Biophilia label. Lewis may be best known for his work with Amy Cervini, Jo Lawry, New York Voices, The Duchess Trio, and drummer Deric Dickens. With the exception of the opening cut, "Looking Glass" (which is a solo piece as it is on the earlier album), Saulnier arranges the music to highlight its melodic components and rarely strays far from the original arrangements. Yet, a band this size, plus Lewis on guitars, give his "Atticus" project heft and fullness.
Jos. McCarthy Photography
After the quiet opening, the Orchestra makes its initial appearance on "Build!", a gentle melody that, at times, sounds like the band is tuning up but that leads into a brass round slowly opening into "The Adventures of Dirt McGillicuddy." Here, the melody is played by Lewis as the band churns below and around him, egged on by the powerful drums of Will Clark, the brass and reeds, and the solid bass work of Joshua Paris. Trumpeter Jonathan Powell rises out of the rhythm section to deliver a strong solo with the brass and reeds creating a wall of sound around him. The title track opens with the round tones of Nadje Noordhuis on flugelhorn - she gives way to the main theme played by flute (Vito Chiavuzzo) and what could be bass clarinet (Andrew Gutauskas). With the entire band playing, the melody has a cinematic feel with Clark in the driver's seat. After a long and melodic intro to "The Robert Frost Experiment", the rhythm section lays downs a torrid stop-time beat pushed forward by the bass and baritone sax. Guitarist Michael MacAllister steps out in a big way, his guitar lines roaring over the band which fills in behind him. Everyone but electric pianist Kotler drops out and, soon, alto saxophonist Chiavuzzo creates a most heart-felt solo. Again, the band begins to fill in around him (the arrangement may remind one of the sound of Maria Schneider) and the saxophonist rises to the occasion.
"Quiet" and "Snowflake" offer a short reprise to the more tumultuous pieces. The former floats in on the percussion of James Shipp - the music does pick up steam but drops back down opening for a powerful tenor saxophone solo from Samuel Ryder. The latter opens with quiet electric piano; soon the percussion and MacAllister enters followed by Lewis playing the melody. The short interlude introduces vibes of JAmes Shipp and then the guitarists play the lead. The full band does not enter until late in the performance as Lewis flying through his solo.
The final two tracks start with the aptly-titled "Turbulence", which starts off quietly but hits its stride around the three-minute mark as trombonist Michael Boscarino steps out for a strong solo. "The Pasture (You Come Too)" closes the program; the lengthy opening features guitars and reeds playing softly supported by percussion. Ms. Noordhuis rises out of the impressionistic sounds for a short yet emotionally rich solo. The closing 90 seconds have the power of Ms. Schneider's music as well as touches of Aaron Copland.
One should not approach "Atticus Live" as your typical Big Band recording. There's more rock than swing, moments when the guitars seem to be repeating the melody over and over, and other times when the swirling winds and brass don't go where you might expect. Still, the power is in the performances of the Awakening Orchestra, in the power of the rhythm section, and the way Kyle Saulnier uses the reeds and brass to color, not just as background noise, and in the different sounds produced by JAmes Shipp. Recorded live at Shapeshifter Lab in Brooklyn, NY, the sound quality is excellent. Give this music time to sink in - it's well worth the effort.
Personnel:
Trumpets; Daniel Urness, Seneca Black, Nadje Noordhuis (flugelhorn as well), Jonathan Powell
Trombones: Michael Boscarino, Sam Burtis, James Rogers, Max Seigel (bass trombone)
Reeds: Rob Mosher, Vita Chiavuzzo, Samuel Ryder, Andrew Gutauskas, Nick Biello
Percussion; JAmes Shipp, Will Clark, Rich Stein
Guitars: Jesse Lewis, Michael MacAllister
Keyboards: Aaron Kotler
Acoustic and electric bass: Joshua Paris
Arranger and conductor: Kyle Saulnier
This morning, I posted about the great year of music that New England Conservatory is presenting in Boston but there is also a New York City-area component in 2013. So, what follows offers a fuller description of the myriad offerings (and it's mighty impressive.) The press release comes from the fine folks at Braithwaite-Katz Communications.
The possibilities are endless at New England Conservatory, which celebrates the 40th anniversary of its groundbreaking Contemporary Improvisation department with a year-long series of concerts and events in Boston and New York City.
Featuring many of NEC’s distinguished alumni, faculty and students, and special guests, the Boston festivities include performances by Marty Ehrlich (pictured), Randy Weston, Carla Kihlstedt, Gunther Schuller, Anthony Coleman, Peter Row, Judy Bressler, Bert Seager, Linda Chase (with renowned poet Jane Hirshfield), The Sail Away Ladies (featuring Sarah Jarosz, Eden MacAdam-Somer and the Friedman Sisters), Dominique Eade, Manga Rosa, The Sol Y Canto Trio, Juanito Pascual, Lissa Schneckenburger, Dave Fiuscynski, CB Calloway Brooks, Ken Schaphorst, current department chair Hankus Netsky, founding department chair Ran Blake, and much more. Three New York events in March 2013 include a Contemporary Improvisation Showcase featuring renowned faculty and alumni; an all-day Contemporary Improvisation Festival in Brooklyn curated by Anthony Coleman; and a panel discussion and performance highlighting NEC’s pivotal role in the revitalization of Jewish music.
In addition, this fall violinist/fiddler/vocalist/dancer/improviser/composer Eden MacAdam-Somer launches New England Conservatory's new Continuing Education/Preparatory Department program in Contemporary Improvisation. Initial offerings will include Music of the World, a Jewish Music Ensemble, an African-American Music and Improvisation Ensemble, the “Walking Between the Worlds” ensemble, and private instruction in ear-training, improvisation, composition and performance, all focused on preparing today’s musicians for twenty-first century musical careers. All courses and ensembles are open to the public for credit or non-credit.
Among the upcoming events is the Opening Night, a showcase for current Contemporary Improvisation faculty, curated by Eden MacAdam-Somer, to be held in Brown Hall at NEC at 8 p.m. on Tuesday, September 4, featuring Ran Blake (pictured), Aaron Hartley, Anthony Coleman, Dominique Eade, Tanya Kalmanovitch Ted Reichman, Jerry Leake, Eden MacAdam-Somer, Hankus Netsky, Nedelka Prescod, Amir Milstein, Peter Row, Bert Seager and others.
Multi-instrumentalist Marty Ehrlich, one of the most lyrical and inventive musicians around, follows with a week-long residency (September 5 – 13) including a talk on his music on Thursday, September 6 and a concert featuring NEC students and faculty on Thursday, September 13 at NEC’s Jordan Hall.
Master Class “Expanding the Possibilitiesof the Double Bass” with bassist/composer Mark Dresser (pictured) at 10 a.m. on Friday, September 14 in the Keller Room, NEC.
Master Class with prolific composer, improviser, and pianist Satoko Fujii at 12 noon on Tuesday, September 25 in Pierce Hall, NEC.
Dominique Eade, Faculty Recital, 8 p.m. Thursday, October 11 at NEC’s Jordan Hall.
Bert Seager’s Kombucha and Carla Kihlstedt’s Rabbit, Rabbit, at the Regattabar, Tuesday, October 16 at 7:30 p.m. *Tickets required. Go to www.regattabarjazz.com.
For those of you who live in the Boston, Massachusetts, area or might be planning a trip to those parts, The New EnglandConservatory has just announced its new season of concerts and master classes. Below is an abridged schedule (many of the events taking place in Jordan Hall, pictured on the left) - you can find out much more by going to www.necmusic.edu/jazz.
New
England Conservatory’s Jazz Studies Department Presents
Over
Forty Free Performances for 2012-2013 Season
Plus
Master Classes with World-Renowned Performers
September
19, 2012 – May 15, 2013
Highlights
include a Bob Brookmeyer Memorial Concert, The NEC Jazz
Orchestra in concert featuring the music of Miguel Zenón,
Randy Weston with The NEC Jazz Orchestra, Faculty
Recitals by jazz masters Dominique Eade, Ken Schaphorst, and
Fred Hersch, the Pierce Series - 26 concerts by
exceptional student ensembles – and many more.
Fall 2012
All
concerts at 8 p.m. except Pierce Series Concerts which take place at
7, 8 and 9 p.m.
Wed., September 19: 1:30
p.m. Master Class: Fred Hersch in Brown Hall
With
Drew Gress and Eric McPherson
Thursday, September 27: Music of Dave
Holland (Brown Hall)
Featuring
NEC student ensembles coached by Dave Holland.
Thursday, September
27: 1 p.m. Master Class:
Jason Moran (Keller Room)
Thursday, October
11: Dominique Eade Faculty Recital (Jordan Hall)
Monday, October
15: Ken Schaphorst Faculty Recital (Jordan Hall)
Thursday, October 18: Bob Brookmeyer Memorial Concert, featuring the NEC JAzz Orchestra
Thursday, November 29: NEC Jazz Orchestra "Rebirth of the Third Stream"
(Jordan Hall)
Tuesday, December 4:
1 p.m. Master Class:
Jason Moran (Pierce Hall)
Tuesday, December
4: Jazz Composers Workshop
Orchestra (Brown Hall)
Friday, December
7: Master Class: Jason Moran (Brown Hall)
There are also plenty of concerts featuring student-led ensembles and an exciting Spring 2013 series.
Lots going on all around me and here are some of the highlights:
Firehouse 12 in New Haven springs back into action with its 13-week series of Friday evening shows this week (March 26.) The opening concerts features baritone saxophonist/composer/conceptualist Fred Ho with poet Magdalena Gomez with a program titled "Caliente! Circle Around the Sun." Ho has been active on the creative music scene since the early 1980s when he founded his Afro Asian Orchestra. He does not shy away from political issues and has always been in the forefront of cross-cultural experimentations. He's composed operas, musical theater/multi-media pieces, suites and concept albums. "Caliente" is one of his newer projects and it's described as drawing "upon the fire and heat of anti-imperialist struggle from around the planet, combining incendiary music and poetry infused with searing revolutionary politics." Ms. Gomez, performance poet and activist, has been presenting poetry and shows since 1971 and is the co-founder and artistic director of Teatro V!da, located in Springfield, Massachusetts.
The duo performs 2 sets, 8:30 and 10 p.m. - for more information (including tickets and links to the artists' website), go to www.firehouse.com. *********************************************
I wrote several weeks ago about the fine compilation CD published by the New England Conservatory of Music in conjunction with the 40th Anniversary of its Jazz Studies program (review here.) The 8 days of concerts started this past weekend (3/20/10) and continues through this weekend - here's a listing of the rest of the fine series.
Tuesday, March 23
HOT & COOL: NEC JAZZ 40th Presents Darcy James Argue's ('02 M.M.) Secret Society
7:30 and 9:30 p.m.
Tickets $25
Thursday, March 25
HOT & COOL: NEC JAZZ 40th Presents Curtis Hasselbring's "The New Mellow Edwards" & Post-show Jam Session with Frank Carlberg
7:00 pm The New Mellow Edwards featuring trombonist Curtis Hasselbring '88 B.M., tenor saxophonistChris Speed '90 B.M., bassist Trevor Dunn and drummer John Hollenbeck.
Post-Show Jam Session featuring pianist Frank Carlberg, drummer George Schuller '82 B.M., saxophonist Jeremy Udden '02 B.M. '03 M.M. and Joe Fitzgerald, '87 B.M.
Tickets $10
Douglass Street Music Collective, 295 Douglass St. near 3rd Ave., Gowanus, Brooklyn myspace.com/295douglass
Friday, March 26
HOT & COOL: NEC JAZZ 40th Presents A VOCAL SHOWCASE at JOE'S PUB
Featuring vocalists Dominique Eade '82 B.M. '89 A.D (pictured)., Sara Serpa '08 M.M,David Devoe '02 B.M. '04 M.M., Amy Cervini '00 B.M., Jo Lawry '10 D.M., Patrice Williamson '94 M.M., '97 A.D. and Sofia Koutsovitis '03 B.M., with percussionist Richie Barshay '05 B.M., pianist Carmen Staaf '05 B.M., M.M., and bassist Jorge Roeder '05 U.D.
Saturday, March 27
HOT & COOL: NEC JAZZ 40th Presents NEC JAZZ SUMMIT
Featuring JOHN MEDESKI ('88) & BILLY MARTIN of Medeski, Martin & Wood with turntable maestro DJ LOGIC; RAN BLAKE, ANTON FIG '75 B.M. , BERNIE WORRELL '67, SARAH JAROSZ '13 B.M., DOMINIQUE EADE '82 B.M. '89 A.D., faculty member JOE MORRIS, LAKE STREET DIVE (Rachael Price '07 B.M., Michael Calabrese '07 B.M., Bridget Kearney '08 B.M., Mike Olson '05 B.M) JASON MORAN, MATTHEW SHIPP '84 B.M., and more; MC for the evening will be WBGO's JOSH JACKSON.
7:30 p.m.
Tickets $25 + $10 minimum
B.B. King's Blues Club and Grill, 237 W. 42nd Street, NYC. 212-997-4144www.bbkingblues.com
Proceeds from the B.B. King's event will support jazz scholarships at NEC.
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