More Music for Giving Thanks (2)

Two years ago, guitarist, composer, and arranger Eric Hofbauer released two fascinating CDs with his Quintet under the monickers of "Prehistoric Jazz Volumes 1 and 2 (released on his Creative Nation Music label). The first was a reimagining of Igor Stravinsky's "The Rite of Spring" and the second a journey into Olivier Messiaen's "Quartet for the End of Time." The splendid ensemble - Jerry Sabatini (trumpet), Todd Brunel (Bb clarinet, bass clarinet), Junko Fujiwara (cello), and Curt Newton (drums and percussion) - took hold of the material and, thanks to the inventive arrangements and despite the title of the project, made listeners hear the material with new ears. Also important to the overall project were David Adler's impressive liner notes.

The team is back, including Adler, for "Volume 3."  This time, the Quintet tackles the quintessential American composer Charles Ives  (pictured left) and his "Three Places in New England."  Ives, well-known for his insertion of hymns, marching band tunes, and dissonant melodies in the midst of his symphonies, does not have a huge catalog like Aaron Copland or Leonard Bernstein and he continually worked on pieces - Ives started sketching out "Three Places..." in 1903, did the main work between 1911-14 and finished revisions in 1929.


What Hofbauer has done here is create an atmosphere that takes Ives's piece through various stages of jazz. One hears a touch of early New Orleans, Duke Ellington's "jungle music", swing, bop and more, doubling the piece from its 20-minute structure with the additions of solos and group-within-the-Quintet interaction.  The real joy is how well this approach works. All the musicians are stalwarts.  The crisp electro-acoustic sound of Hofbauer, the classically inspired tones of Sabatini's trumpet, the round sounds and "hot" swing of Brunel's clarinet, and the drive plus the colors that Newton produces.  Extra credit should go to Ms. Fujiwara as both her arco and pizzicato work are par excellence (she "walks" a bass line with the fluidity of Ron Carter and Christian McBride).  Just listen how the Quintet creates an amazing amount of musical heat (while maintaining a fine sense of humor) on "Putnam's Camp, Redding Connecticut" yet also allows for Ives's melodies and "quotes" to be heard.  Guitarist Bill Frisell recorded "The "St. Gauden's" in Boston Common", the composer's tribute to the sculpture dedicated to the first African American  regiment to fight in the Civil War.  While Frisell's 1993 version was fairly short, Hofbauer stretches this performance to 17 minutes, going in so many different directions.

By the time the listener reaches the third and final track, "The Housatonic at Stockbridge", one is ready for this crazy blend of hymn and "free" playing that reaches a thunderous climax followed by a quiet guitar melody that takes the piece to its close.  The music does not seem finished, as if both Ives and Hofbauer could see a continuation of these studies.  No matter how you perceive the closing movement, this music is a striking piece of Americana. Charles Ives pushed the boundaries of classical music with his approach to orchestral and solo works (his songs also cover a great amount of territory and one can hear how they influenced composers like Aaron Copland and Randy Newman).  Eric Hofbauer and Quintet also push boundaries, make you hear American music in different ways, illustrating the fusion of styles that compelled Ives and the multitude of curious jazz and classical performers and composers throughout the 20th Century to the present day.  "Three Places in New England" is quite an aural treat - enjoy the journey.

Here's the final track on the album:

Earlier this Autumn, guitarist Hofbauer digitally released "Ghost Frets" (Creative Nation Music), an 11-track solo guitar album dedicated to his late musical partner, guitarist Garrison Fewell (1953-2015).  Over the years, the two musicians had a built a bond based on exploring music from all genres and styles. Though they only released one album together - 2007's "The Lady of Khartoum" - the duo spent a lot of time playing together.  That sense of openness and play is quite audible on the new recording, an eclectic blend of improvisations, two pieces by Fewell, and one track each from Thelonious Monk ("Let's Cool One"), Eric Dolphy ("Out To Lunch"), Joe "King" Oliver ("Buddy Bolden's Blues"), George Harrison ("All Things Must Pass"), and Richard L. Butler and Timothy Butler of The Psychedelic Furs ("The Ghost In You").

The eclectic choice of material plus the improvisations gives the listener plenty of choices to find their way.  Two of the first three tracks are come from Fewell, the pleasing swing of "Blues Update" and the fascinating "Ayleristic" with its blend of John Fahey, Robert Johnson, and Sandy Bull.  There's a sense of mystery to the latter track, a sense that Hofbauer is listening to his former partner's voice  telling him to dig deeper, into the emotional heart of the music.  This whole project has a sense of purpose; one gets a feeling these musical stories need to be told.  The depth of the audio is intense, the guitar sound flowing from the speakers or into earphones clean and clear.

Whether it's the slide guitar reading of the Harrison song (an impressionistic opening leads to a bluesy and intoxicated reading of the melody) or the traditional yet contemporary take on "Buddy Bolden's Blues", this music is engrossing.  Monk's tune has a pleasing swing and like that master's music, is filled with rhythmic surprises.  "The Ghost In You" has a fine melody and a lightness that lasts the entire piece. Not surprisingly, "Out to Lunch" displays the angularity and playfulness of the original.  The improvised pieces runs from the percussive "Masafir" (the guitarist creating the rhythm plucking the strings behind the bridge) to the playful rhythmic swing of "Scratchadelic" (listen and you'll understand the song's title) and on to the Monk-inspired "Meet @ Office, Midnight" (a bluesy ballad) to the album closer "A Sognare di Bergamo" (another ballad, this one with a Romantic classical feel).

"Ghost Frets" also includes liner notes from David Adler that are well worth checking out, especially for the explanation of the relationship Eric Hofbauer had with Garrison Fewell.  The album is a tribute but not in the traditional sense.  Yes, it celebrates the relationship of the two musicians but also celebrates the artist's connection to music.  Music this good has stories embedded in the notes and the performances, in the slide of the guitarist's fingers on the fret board, on the strength of the plucked notes and chords.  Each listener will find different ways into this music but, with patience and a sense of curiosity, each person will be rewarded.

For more information, go to erichofbauer.com.

Take a listen to the "King" Oliver tune - the album is available only through Bandcamp - click on "buy" below to do just that:

More Friday Night Fun + Classical Finds

Pianist/composer/arranger and educator Earl MacDonald (he's on the faculty of the University of Connecticut/Storrs) leads and plays with  the Hartford Jazz Society's New Directions Ensemble. The nonet (listed below) plays at 8 p.m. Friday April  26 in the Polish National Home, 60 Charter Oak Avenue, Hartford.  Scheduled to appear with the NDE are Kris Allen (alto saxophone), Frank Kozyra (tenor saxophone) and the fine young baritone player Lauren Sevian as well as trumpeters Tony Kadleck (a mainstay of the Maria Schneider Orchestra) and Josh Evans, Shelagh Abate (French horn), Sara Jacovini (trombone), Henry Lugo (bass) and Ben Bilello (drums). This is a formidable ensemble and one expects the music to really shine. Opening the show will be the excellent Newington High School Jazz Ensemble.  For tickets and more information, go to www.hartfordjazzsociety.com or call 860-242-6688.

Guitarist/composer Sinan Bakir returns to The Buttonwood Tree, 605 Main Street in Middletown for a Trio gig at 8 p.m.  Joining him will be Jen Allen (keyboards) and the fine young drummer Cemre Dogan. Thanks to his busy schedule of live dates, Bakir's playing and musicianship has truly matured over the past 18 months or so.  Since I first heard him play 3 years ago, he has become a stronger soloist, more melodic and forceful yet gentle when the music calls for it.  He's also a fine accompanist.  For ticket information, go to www.buttonwood.org - to find out more about the guitarist, go to www.sinanbakir.com.

Also on Friday night (this is beginning to look like listing for New York City), vocalist Giacomo Gates performs as part of the Music@Japanalia Series, located at Japanalia Eiko II, 11 Whitney Avenue in Hartford.  Gates, who just released, arguably, his best CD "Miles Tones" on Savant Records, performs with guitarist Tony Lombardozzi and bassist Jeff Fuller. The concert, titled "Mostly Miles", will foecus on material from the recording and, in this intimate setting, one will be able to hear what a great job Gates does blending the lyrics into his interpretations of solos from a number of Davis's albums.  For ticket information, call 860-232-4677.

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Movies often glorify war; most, especially modern movies, do not shy away from the violence that war begets.  Music, however, often takes sides whether it be the flag-waving favorites of the 2 World Wars or the harsh anti-Vietnam screeds of the late 1960s.

Composer David T. Little interviewed a number of soldiers from the various wars that the United States has been involved in over the past 5 decades. Using excerpts of those interviews as his libretto, Little has created "Soldier Songs" - the music, now released by Innova Rcords, is performed by Newspeak, the ensemble Little has worked with (percussion, vocals) and composed for over the past 6 years.  That octet features Caleb Burhans (violin), Mellissa Hughes (voice), James Johnston (piano, keyboards), Eileen Mack (clarinet, bass clarinet), Brian Snow (cello) and Peter Wise (vibraphone, percussion).  (Newspeak guitarist Taylor Levine is not on the recording.)  Added to the ensemble for this production are Kelli Kathman (piccolo, flutes) and lead vocalist David Adam Moore (baritone), all conducted by Todd Reynolds.

The multi-media production debuted in June 2011 at the International Festival of Arts & Ideas in New Haven, CT.  The reviews were (mostly) positive and Little set about recording the music.  Needless to say, much of the music is dark, harsh, and grating (like the combat scenes it represents) yet the power of the compositions, Moore's expressive vocals, and the ensemble's precise work shines on this recording.  While the lyrics do not pick out any particular politician, government or guerilla organization, they do speak to the dreams and frustrations of the men and women who do the "dirty" work"of those who call the shots.  As the program progresses from the dreams of young boys playing soldier in the backyard to the various war zones to the aftermath (how we inform families of the loss of their children and how we remember the fallen) to the inevitability of war breaking out around the war, one hears the people that Little has interviewed.

Music can not stop war but pieces like "Soldier Songs" can inform those of us in the safety of our homes of the sacrifices of those people we send to fight for us and the families they leave behind.  The memories of combat do not, can not, leave the minds of those who are involved - David T. Little reminds us to listen to those people, to pay attention to the families, to make sure we never grow "cavalier" about what war really is - war is killing, plain and simple  Neither glorious nor beautiful, wa is death.  This is powerful music and deserves your close attention.  For more information, go to davidtlittle.com/projects/soldier-songs/.

The first sound you hear on "Native Informant", the striking new Naxos CD of music by Arab American composer Mohammed Fairouz (born 1985) is the plaintive clarinet of David Krakauer, one of the brilliant players of the modern Klezmer music.  The piece is "Tahwidah" (lullaby) and the text comes from a poem by Palestinian writer Mahmoud Darwish (1941-2008) - when soprano Mellissa Hughes adds her voice, the piece builds in emotion and intensity.  Throughout the remainder of the CD, one often hears emotion, intensity, and sadness.  Much of this music is informed by the composer's trip to Lebanon, once the 'jewel" of the Middle East, now a trampled ground of hopes, casualties, dreams deferred or denied.  Fairouz sets 2 poems by American poet David Shapiro to music as well as 3 pieces by American Wayne Koestenbaum, both Jewish.  Like the Middle East, Fairouz's music speaks to the centuries of Arabs and Jews living together under the rule of various emperors or nations. Nowhere does he speak about this but, if you know anything about the music of the Middle East, it is a fusion of many cultures that have or still reside there.

But the music goes in so many directions.  Violinist Rachel Barton Pine is featured on the 5-part title piece, a solo work that ranges from a celebration of dance to a lament to the many people killed in the Egyptian uprisings of 2010-11 to the plaintive lullaby that closes the work.  The Borromeo String Quartet are featured on the expansive "Chorale Fantasy" and return on the 2-part "For Victims", accompanying baritone David Kravitz as he sings the Shapiro poems.  Pianist Steve Spooner teams with baritenor Christopher Thompson on "Posh", the song cycle based on the Koestenbaum poems - the blend of darkness and light is quite lovely.  The CD closes with the 5-part "Jebel Lebnon" (Mount Lebanon) commissioned and performed by Imani Winds.  The music takes its direction from the disastrous Lebanese Civil War (1975-1990) and is marked by the blend of shrill piccolo and clarinet on the opening section ("Bashir's March") to the plaintive bassoon that opens "Ariel's Song", a lamentation to the massive loss of civilian life and dislocation in the conflict. Yet, the lightness of spirit that permeates "Dance and Little Song" and feistiness of "Mar Charbel's Dabkeh" points to the resilience and hopes of the nation.

The best person to talk about this music is Mohammed Fairouz and he does so in this recent article on the Huffington Post (read it at www.huffingtonpost.com/mohammed-fairouz/native-informant_b_3119521.html.)  My suggestion is find this music, soak in it, pay attention to its inner workings and the voices that emerge - it's an intense emotional journey but also quite educational.  To learn more about the composer, go to mohammedfairouz.com.

New Classical Music

Every once in a while, a critic or commentator will bemoan the passing of classical music.  Perhaps these people have never read Alex Ross's "The Rest is Noise" and "Listen to This" or heard Nico Muhly on the radio or seen Gustavo Dudamel conduct the Los Angeles Philharmonic.  If "dead" is based on market share, you can throw those figures out the window. With the advent of the Internet, more people are exposed to different types of music all the time.

Thanks to groups like the Kronos Quartet, SO Percussion, the Chiara String Quartet and people like Marin Alsop, Joshua Bell, Yo-Yo Ma and others, classical music is alive and well in concert halls, performance spaces and night clubs (yes, clubs where rock and jazz musicians play.)

Janus is 3 young musicians, Amanda Baker (flute, voice), Beth Meyers (viola, banjo, vocals) and Nuiko Wadden (harp, percussion), with a repertoire that ranges from Debussy to Toru Takemitsu to contemporary composers such as Caleb Burhans, Cameron Britt, Jason Treuting, Angelica Negron, Sophia Gubaidulina and others.  In existence since 2002, the trio's debut CD, "i am not" (New Amsterdam), was issued late last year.

Flutist Baker lives in New London, CT, and will be my guest this Sunday (1/30/11) at 11 a.m. on WMRD-AM 1150, Middletown, CT, and WLIS-AM 1420, Old Saybrook, CT. She's studied at Northwestern University and Yale University, performed with the Coast Guard Band and was principal flutist with the Guangzhou Symphony Orchestra in Southern China. 

On the show, we'll talk about her training, the origin of Janus and how the group finds its music.  And, we'll listen to several tracks from the excellent recording.  If all goes according to plan, there will be an archived recording of the show - the site is in the works.

In the meantime, here's Janus performing Burhans' "Keymaster."

Saxophone Music from Here and Far

PRISM Quartet, 4 saxophonists whose musical repertoire ranges from modern classical to avant-garde to jazz, has issued 2 new CDs in the past few months - both are worth taking the time to explore. In existence since 1984, PRISM has pioneered new works by composers such as William Bolcom, Steven Mackey, and JacobTV as well as keeping the works of William Albright (1944-98) in the ears and minds of the public.  Currently, the Quartet features Timothy McAllister (soprano sax), Zachary Sherman (alto, soprano), Matthew Levy (tenor) and Taimur Sullivan (baritone, soprano). You can discover more about the 4 musicians and their musical mission by visiting www.prismquartet.com.

Antiphony, featuring Music from China (Innova) - Music from China is a musical organization, founded in 1984, whose mission is to promote both traditional and new music and whose reach has become international.  Led by Susan Cheng, Wang Guowei (who has taught at Wesleyan University) and Zhou Long, the chamber ensemble has premiered over 100 works by Chinese composers, many of which were either commissioned or competition prizewinners.

This stunning CD opens with Wang Guowei's 2-movement "Songs for Huqin and Saxophone Quartet" - the first part, "Pastorale", blends the open feeling of Aaron Copland's best works with the softness of a Mongolian folk melody (supplied by the composer on zhonghu, a Chinese fiddle. Part 2, "Crescent Moon at Dawn" is derived from a Chinese folk tune with Guowei on banhu (another style of Chinese fiddle). The plaintive melody moves among the saxophones and, at other times, they serve as a chorus  supporting the melody lines. The closing section of the tune hops along like a Far Eastern hoedown.  The title track, composed by Zhou Long, is a series of small dialogues, first between the Chinese instruments and percussion - many stretches of silence separate the melody lines.  The saxophone quartet enters 1/3rd of the way through the piece, serving as a bridge between the first and second sections.  Guowei's haunting erhu (a 2-stringed fiddle) enters into a conversation with the saxophones, the lovely soprano tones bending above the string tones. The rousing closing section features a pounding martial beat underneath the whirling and whinnying reeds and strings.

All but one of the pieces are recent compositions.  The exception, "Shuang Que", is a 1984 work by Tan Dun (who is, perhaps, best known, for his Oscar winning score for "Crouching Tiger, Hidden Dragon") and does not feature the saxophones. Performed by Guowei on erhu and Li Liqun on yanggin (Chinese hammered dulcimer), the piece starts very quietly and, through a series of repeated melodic phrases, builds to a powerful finish.

Most impressive is how the sound of the saxophones blend into these pieces.  The music allows them space and they often carry the melody - in fact, Lei Liang's "Yuan" features only the saxophones and the piece has echoes of the work of American composers Roscoe Mitchell and the late Julius Hemphill.

"Antiphony" (a musical term meaning " responsive singing or chanting") shows the power of cultural collaborations, not so much "East meets West" but really modern music that blends old instruments and melodies with current ideas of harmony.  To find out more, go to www.innova.mu/.

Breath Beneath (New Dynamic Records) - This release, from the label of Indiana University Southeast, finds the Quartet playing new music by North American composers.  These pieces range from the James Brown-meets-the World Saxophone Quartet excitement of Zack Browning's "Funk Assault" to the lamentations of Roshanne Etezady's "Keen" to the constant hum and whisper of the title track, written by Kristin Kuster. The emphasis is on ensemble playing, with short solo lines rising out of the melodies - more often, one hears several saxophones playing together or weaving lines around each other.  The 6-movement "Coloratura", composed by Canadian-born Kati Agocs, is, mostly, short dialogues with experiments in timbre, tonality and shifting pitch fields.  The final section, titled "Hymn", is longer, softer, and, while it employs some of the devices heard in the previous movements, can, in the words of the composer "be played on its own." The work was inspired by Henry Cowell's mysterious "Hymn and Fuguing No. 18, for soprano and contrabass saxophones."  The program closes with Rand Steiger's "Maxine", a work that has several distinct sections but is always a conversation among the 4 saxophones .  The composition breathes, is, at turns, contemplative and breezy, but never dull.

This collection of modern works is an affirmation of the creative spirit, of composers willing to take chances to create a personal yet universal message and of 4 musicians striving to advance in the 21st Century.  I enjoy that the music is spacious, at times fractious, but much of what one hears touches the heart and stirs the restless soul. To learn more, go to www.NewDynamicRecords.com.