Bushwick Book Club features Tennessee Williams
Monday, March 21, 8 PM, at Superfine, 126 Front Street, Brooklyn
This coming Monday, musical compositions will be performed, based on Tennessee Williams’s Pulitzer Prize winning play, Cat on a Hot Tin Roof.
A traveling musical performance event, Bushwick Bookclub invites songwriters to create new pieces of music inspired by various literary works. Be it in Seattle or New York City, or wherever, each event features a different novel or play.
Cat on a Hot Tin Roof starred Ben Gazara and Barbra Bel Geddes, winning the Pulitzer in 1955. It was later adapted for the screen and starred Paul Newman and Elizabeth Taylor.
I am pleased to announce I am among the songwriters invited to take part for this particular installment and shall be accompanied by various members of the Highland Shatners and Spoonville.
Superfine is a mighty fine restaurant in the Dumbo section of Brooklyn, just under the Manhattan bridge. The York Street stop on the F line is the nearest subway.
May 4 seems like it’s so long ago. May 4 seems like it’s barely passed
For half a century, musicologist Alan Lomax recorded and preserved priceless cultural treasure.
Thousands of recordings have been digitized for posterity, discovered in the coal country of Kentucky to the cane fields of Haiti, including many legendary voices who would have toiled in obscurity and been forgotten.
With 2015 marking the Alan Lomax centennial, the Association for Cultural Equity is making these recordings available for free.
Read more about that and HERE
Working alongside his folklorist father, John Lomax, the young Alan traveled through the South and West, shining a light on local musicians, allowing the wider world to discover the blues of a prison inmate known as Leadbelly and the ballads of an itinerant laborer named Woody Guthrie.
Those are just two of the voices first recorded by Alan Lomax, out of thousands, and tens of thousands of songs and tunes now preserved for and us and future generations.
The 2002 New York Times Obituary of Alan Lomax is found HERE
Association of Cultural Equity’s website is HERE
The Lomax Family Collection at the American Folklife Center is HERE
An unlooked for side effect at the dress rehearsal of Don Carlo
ghosts of tech weeks past
As I entered the empty house at the Metropolitan Opera and walked down the aisle, I was hit with sudden pangs of tense anxiety and adrenaline when I saw them. There was the lighting board and stage manager’s station set up in the middle of the orchestra. Only now it is, of course, a lighting computer.
I haven’t directed a play for almost 20 years, but in an instant I was reflexively steeling myself for the exhaustion of techs and dress.
Without realizing why, I was compelled to walk back out and get a cup of coffee from the hoity concession stand for $5. But really, it was very good coffee.
I quipped that I would probably start having the dreams again too. And sure enough, I had the endless tech rehearsal disaster dream last night.
Times Change and So Do Sets
I must wonder how many of the old opera buffs there were ruffled by the modern sets of the Met’s Don Carlo, the tale that answers the musical question, ‘Will sacrificing all chance of personal happiness for the sake of duty and honor save you from the Spanish Inquisition?’
They’ve used these sets for some years now, but it takes a long time for hardliners to except change at the Met as anything but heretical.
I thoughteffective and quite clever, with a touch of Max Reinhardt about some of them, even if I also wonder what the Met’s grand old ultra-realistic sets might have been like.
I must confess, some relief came from knowing I had not the responsibility of making sure none those many performers bumped into the furniture.
photo: Metropolitan Opera
Tickets for Verdi’s Don Carlo start at $27, with 8 performances beginning March 30, through April 25.
Yannick Nézet-Séguin conductor, Nicholas Hytner production.
Starring Carlo Yonghoon Lee and Barbara Frittoli, with Ekaterina Gubanova, James Morris, and Ferruccio Furlanetto reprising his portrayal of King Philip, and a One Man’s World special mention for the charismatic baritone Dmitri Hvorostovsky singing the role of the Marquis de Posa.
And Beethoven’s Many Moods
With Joshua Gersen conducting, guest star Elena Urioste shone bright in Beethoven’s violin concerto, opus 61, followed by an NYYS ensemble rendition of Rimsky-Korsakov’s Scheherazade, op. 35, full of memory, passion, and promise. I couldn’t have been more delighted.
“I have no idea whose credenza Urioste was interpreting at the end of the first movement, but it was punctuated by dramatic double stops, with fluid runs up the neck, and heart-piercing tone in the lengthy sustain she achieved time and again in the highest notes, clear and poignant as tears in sunlight. And all of it crowned by a marvelous passage where she accompanied her own trebly melody with a sonorous counterpoint across the lower strings….
During the interval, the stage lost the featured soloist, and gained considerably more orchestra members, including a second row of bassists and the full complement of percussionists required to achieve the depth and splendor of Rimsky-Korsakov’s lavish tone poem…Their performance across all four movements was magnificent.”
Somebody’s been practicing with a metronome! And its Julian Lage and Nels Cline.
A mid-sixties Gibson Barney Kessel model (Nels Cline) and a Manzer Bluenote (Julian Lage) together in some amazing space jam Jazz.
I must confess I only knew of Cline as a guitarist in the progressive folk country phenomenon Wilco. What a great and unexpected turn of the ear. Tasty and oh so impressive.
Their collaboration is available on the record Room, available at iTunes and other music outlets.
All of yous.
Yes every single one of you in the tri-state area.
Yous needs to do yousself the favor and go to Carnegie Hall this Sunday at 2pm for the New York Youth Symphony Orchestra’s concert.
Bring the kids.
They are so spectacular you will not believe they are all 20 or younger.
AND the program includes Rimsky-Korsakov’s Scheherazade, Op.35!!!
If you have never seen a live orchestra concert, or not in a long time, or your kids haven’t, go see it. Every seat is $20, at Carnegie Hall! It is the best $20 ticket in NYC.
Elena Urioste, violinBeethoven: Violin Concerto, op. 61
Rimsky-Korsakov: Scheherazade, op. 35
Recently selected as a BBC New Generation Artist, Elena Urioste has been hailed by critics and audiences for her rich tone, nuanced lyricism, and commanding stage presence. Since making her debut with the Philadelphia Orchestra at age thirteen, she has appeared with major orchestras in the U.S. and abroad, including the London and New York Philharmonics, the Cleveland Orchestra, the Boston Pops, and the Chicago, Atlanta, Detroit, Pittsburgh, and National symphony orchestras. Elena has collaborated with acclaimed conductors Sir Mark Elder, Keith Lockhart and Robert Spano; pianists Mitsuko Uchida, Christopher O’Riley, and Michael Brown; cellists Carter Brey and Zuill Bailey; and violinists Shlomo Mintz and Cho-Liang Lin. She has been a featured artist at the Marlboro, Ravinia, and La Jolla music festivals, among others.
The New York Philharmonic has announced that Joshua Gersen has been appointed the orchestra’s new Assistant Conductor, commencing with the 2015/16 season.
Gersen will continue to serve as music director and principal conductor for the New York Youth Symphony concurrently with his newly appointed position at the Philharmonic.
The mad mystic hammering of the wild ripping hail
Ever wonder what it must have been like to have heard these words before they had even been released on a record?
Far between the finished sundown (sic) and midnight’s broken toll
We ducked inside the doorway as thunder went crashing
As majestic bells of bolts struck shadows in the sounds
Seeming to be the chimes of freedom flashin’
Flashin’ for the warriors whose strength is not to fight
Flashin’ for the refugees on the unarmed road of flight
An’ for each an’ ev’ry underdog soldier in the night
An’ we gazed upon the chimes of freedom flashing
Well, it would have been a lot like this.
The verses of that young man shall be studied by scholars and read by nightlight centuries after the rest of our time have faded from away from the pages of history.
Read more: http://www.bobdylan.com/us/songs/chimes-freedom#ixzz3PwRMAKHh
It says a lot about Chris Thile as an artist and a man that he is awarded a MacArthur Fellowship “genius grant” in 2012 with the handsome cash prize, and a year later he chooses to get back together with his old band, Nickel Creek, who he first hooked up when he was 8 years old, back in the early 90s, and who provide him more of a team-player ensemble role than any other collaboration he has been involved since.
But there was plenty of brilliance flashing from Thile’s mandolins, even if he was content to lace things together more than cover the various tunes in ribbons and bows.
Nickel Creek last toured some 7 years ago, but I guess Thile got the 7 Year Itch in reverse, and from the talk on stage tonight at Brooklyn’s Prospect Park Band Shell, this is less of a reunion tour than a new beginning.
Sara Watkins’ angelic voice filled the darkened band shell with pure radiance, and her brother Sean’s fluid guitar runs with their in the moment crescendos, and the lilt of his high lonesome singing melded with Thile’s righteous tenor rafters, so that the trio brought tears to eyes and goosebumps to napes over and over.
But good golly those kids can PICK!
Kids? The Sean Watkins is old enough to run for president and Thile and Sara Watkins will be in a couple of years. And yet, they were fresh as daisies in their sheer joy of lighting up an audience and each other, even if their chops were far beyond their years.
And with Mark Scatz providing a full bodied bottom end on the basement fiddle, they tore it up. But just as often they would hang out in the air, or cast a line out into the audience and slowly pull it in, only to yank it home with a sudden surge or breathtaking downhill slues of three-part, hearts-in-synch daring do.
They have a new album, but they also played plenty of songs from their five Grammy-nominated albums from back in the day.
This lady had a much better seat in Boston than I did in Brooklyn tonight. So check this OUT.