What’s happening this summer?

My July schedule is a bit strange, I’ve basically got 10 days with almost nothing to do (music-wise) and then there is a huge flood of good stuff happening. I thought since I’ll have no concert reviews for a week I would share a few things that are coming up and maybe help you find something fun to see.

First, I’ll mention that one of my favorite new bands, Zion80, is doing a live streaming webcast from Poland tomorrow, July 4th. 4PM Eastern (1PM Pacific/10PM Europe). According to their Twitter feed, this is the link where you’ll find it: http://t.co/pu9Vm7AUK3 Of course, if you’re in Krakow, you can probably go see them in person (click here for a complete list of tour dates). Some music, if you don’t know them:

Another notable European happening is that one of my very favorite songwriters, Joe Henry, has just announced a couple of shows in August in Dublin and Willisau. He also has one show in July in Los Angeles. He doesn’t tour very often so these shows are pretty special (I read that it’s the first concert he’s ever done in Ireland). I’m not sure if he’s planning on doing any more shows while he’s in Europe, but you can keep an eye on his schedule here. Some music, if you’re not familiar with him:

One of my very favorite musical people in the world, composer/saxophonist John Zorn, is heading off to Europe in July as well; he’s doing a number of marathon concerts (mainly at jazz festivals) in London, Rotterdam, Gent, Warsaw, San Sebastian and Lisbon. Lisbon gets three nights instead of just one, so the Portuguese are extra lucky this time around! In August and September he’ll be heading to Jerusalem and Paris, and throughout the year he is doing fantastic events in New York City. His Facebook events page remains the best place to keep up with events; the Zorn@60 page is really good, but it is a little behind the curve and missing some events that are listed on Facebook. Here is a live cut of the Dreamers, who I think are playing in all of the European concerts:

Local Cantabrigian (more…)

Concert Review: ZoRN@MoMA (4/24/2013)

New York’s Museum of Modern Art (MoMA) played host to a mini-marathon of John Zorn projects in another Zorn@60 event in honor of Mr. Zorn’s 60th birthday (which is in September, but being celebrated with epic concerts all year long).

The concept behind this concert was a beautiful one: each set would be performed in a gallery with ‘matching’ art, with music and artists selected by John Zorn based on where his inspirations for each composition came from. My only complaint was that I wish we’d had a little more time between each set to look at the art, but there was only ten or fifteen minutes between each set, and there were a lot of people in attendance, so we generally scooted between rooms pretty quickly. (Mind you, other people probably didn’t have to power-walk to the Port Authority to catch a bus to Boston afterwards – maybe everyone else went back and spent some more time with the art later.)

The first set was billed as the Gnostic Preludes, which is an album released in early 2012 with performers Carol Emanuel (harp), Kenny Wollesen (vibes) and Bill Frisell (guitar). This performance was a little different, and was a duet between Wollesen and Emanuel with no guitarist.

I have heard the studio recordings of the Gnostic Preludes, but it was a very special experience to see it performed live in that beautiful setting. Some instruments feel very different in a live setting, and to me this set was a great example of that. The sound was so rich and gorgeous. I especially enjoyed watching Kenny Wollesen, he is such a unique performer and he was very animated and interesting to see. I was able to sneak a video of the second piece:

The next set was “Apophthegms for Two Violins,” performed by Chris Otto and Dave Fulmer (both on violin); I believe these were pieces from Zorn’s recent ‘Lemma’ album. (All three of you who get the mathematical reference are chuckling right now, I’m sure.) These pieces were (more…)

Concert Review: John Zorn Marathon at the Walker Art Center (4/6/2013) – Part 3: The Concealed, Nova Express, Aleph Trio and The Hermetic Organ

(Click to read Part One and Part Two of this series.)

We were heading into our eighth hour at the Walker Art Center when the third concert of the Zorn@60 marathon was set to begin. There was some sort of delay (we were too far back in the line to hear the cause) and we ended up waiting for a while in a line stretching down the stairwell and into the bar/restaurant area. Eventually, they let us into the McGuire Theater for the third time that day and the concert started relatively quickly.

The main part of this set was music from “The Concealed” and “Nova Express,” which were both released within the past two years. Nova Express was performed by John Medeski (piano), Greg Cohen (bass), Kenny Wollesen (vibes), and Joey Baron (drums). The Concealed was the same quartet with two more players added: Mark Feldman on violin and Erik Friedlander on cello. Apparently Zorn thinks of these two projects as being very closely related; he mixed the pieces together into a single set, with the strings having a little break during the Nova Express pieces.

I was especially interested to hear The Concealed in a live setting, since it was one of my favorite recent Zorn releases and has only rarely been performed live (just once or twice, I think). Naturally, as a new ensemble, they were not as masterful as the bands we’d just seen who had been playing together for a decade and a half – that wouldn’t really be a fair expectation. But the music is brilliant and the musicians are all top-notch, so we still got a very worthy performance. I was pleased that they played my favorite track from the album, Towards Kafiristan – I just love Medeski’s piano on this piece. And, as you might have guessed, I filmed it for you:

Nova Express is not necessarily one of my favorite albums to listen to, but I enjoyed it more live than on CD. The less melodic pieces were a lot of fun to (more…)

Concert Review: John Zorn Marathon at the Walker Art Center (4/6/2013) – Part 2: Masada

(Click here to read part one of this series.)

The second concert of the John Zorn event at the Walker Art Center was a trio of Masada performances, mostly focused on the Book of Angels material. (The Book of Angels is a collection of Zorn’s compositions with a Judaic theme that have been recorded by a number of different bands and soloists.) Zorn’s Masada work is my favorite of his vast output, both live and on record, so I was particularly looking forward to this set, even though I’ve seen all of the performers many times before.

First up was a solo performance by cellist Erik Friedlander, playing material from the eighth volume of the Book of Angels, Volac. I’m not sure how many times I’ve seen him play this material – off the top of my head I can think of eight – but I never get tired of it, and I swear he just gets better and better. He began with Harhaziel, which has always been one of my favorite pieces from the Book of Angels series. The studio version is beautiful, but hearing it live just takes my breath away – the intensity evokes such a visceral emotional response in me. The fourth piece he played was one of my favorites of the whole day/night – an intricate, contemplative pizzicato piece played with absolute delicacy and enormous depth of feeling. The kind of thing you can just close your eyes and get lost in.

His fifth and final piece was Sannul, which is another of my favorites from the album. Completely different from the previous piece, this one is played at approximately Mach 3. It’s the sort of impressive piece that makes audiences leap to their feet for a standing ovation. I was able to sneak a little video footage:

After that piece, they took a moment to rearrange the stage and the Masada String Trio walked out: Erik Friedlander on cello again, Mark Feldman on violin, and Greg Cohen on bass. They all faced each other in a tight circle, with John Zorn conducting from a seat on the floor.

The Masada String Trio is one of the oldest Masada bands, going back about fifteen years. The result of such a long collaboration is (more…)

Concert Review: John Zorn Marathon at the Walker Art Center (4/6/13) – Part 1: Book of Heads, Hockey, Cobra, Composer Q&A

The John Zorn marathon concert day at the Walker Art Center in Minneapolis looked like the sort of lineup that would challenge even the most dedicated concert-goer’s stamina. A composer Q&A at 3PM, a concert at 4PM (Book of Heads, Hockey, Cobra), a concert at 7PM (Erik Friedlander solo, Masada String Trio, Bar Kokhba), a concert at 10PM (The Concealed, Nova Express, Aleph Trio), and a solo pipe organ performance at the church across the street at midnight.

After picking up our tickets and wandering around the galleries for a while, we got in line for the Q&A. It turned out to be a very enlightening and funny 45 minutes or so, with the ever-charismatic Zorn taking relatively few questions, preferring to just go on his own tangents. He got more and more animated as he talked, touching on a lot of topics about his community of musicians and how he brings out their best work, the nature of creativity and the writing process, what it takes to put together these marathon concerts, what it means to be 60 years old, how he deals with critics, and more. I am a really big fan of his (both musically and as a person), and I found the talk very interesting and illuminating. One of my friends said afterwards that she could have listened to him talk all day, and I’d agree – we would have stayed and listened for hours if there hadn’t been another event at four o’clock.

After the talk was over, we hurried over to the McGuire theater, where the concerts were taking place. We didn’t have long to wait before it started, and Zorn had decided to start the day with some of his stranger material: Marc Ribot playing selections from the Book of Heads. This is a collection of short pieces that thoroughly explore the possibilities of extended techniques for the guitar. (For those not familiar with the term, ‘extended techniques’ refers to playing an instrument in ways not intended – say, knocking on the side of the guitar, or rubbing balloons against the strings.)

There is not a lot of melody going on, and in my experience when one listens to the studio recording, you’re liable to spend half the album thinking “what is he DOING to that guitar?” It is much more fun to watch since you can see what he’s doing – licking his finger and making squeaky noises on the guitar with it, playing or muting the strings with various objects, stamping on the balloons that were on the floor around his chair… it’s fascinating to see. He was taking it very seriously (with the exception of a couple of reactions to the crowd being surprised by something he did) and looked very studious and reverent, bent over and peering at his notes/sheet music. I imagine it is a pretty challenging sort of music to play.

I unfortunately was unable to film or photograph any of the first set due to being seated next to some sort of venue personnel with a flashlight and walkie-talkie, but here is a Book of Heads piece filmed at the Kessler in Dallas a couple of years ago:

The next piece being performed was Hockey. I’d never seen or heard it and didn’t have much of an idea what to expect, other than knowing that it was one of Zorn’s game pieces. (His game pieces are essentially sets of rules that he has written for musical games, where one or more people direct the music by signalling to each other while playing.) Hockey turned out to be a trio… and a very unusual one! John Zorn played an assortment of duck calls, Erik Friedlander was there with his cello, Kenny Wollesen had a table full of percussionish objects as well as something in his mouth that may have been another duck call. The three of them performed and Zorn conducted. (more…)