Thursday, December 6, 2012

C.C festival 2 ("Evolution") Marathon @ Drom

This months cover by K.K.W,
Central Park; fuji-film 400
Composers Concordance Festival 2 ("Evolution"). Marathon @ Drom. Article & photos by K.K.W

Last years "marathon" of performances at Drom was the best of C.C's 5 part festival, and while this year it was not the best part of the festival, there were some stellar performances.
Bird call (from the "I am a bird" multimedia show by Milica Paranosic)
Milica Paranosic, Gene Pritsker, Patrick Grant.
The line-up was a collective of 30 performers/composers who all brought something interesting and musically engaging to the stage. Milica Paranosic's Bird call was inventively presented and performed with "i-pads", giving the audience an abstract piece with a minimalist feel that was beautiful to hear. As with most of her work there's a mystery to it making want more, to know more and wanting an encore. She was great, as always.  

"Sound motion" (by Joseph Pehrson, with Susan Dominges & John Clark) swept through the dim-lit area of Drom like a cool wave of light. A playful, well composed piece that was both mellow & up-beat. It had excellent vibe to it which left you wanting more, lots more.  

Molly Joyce
"Glow" by Molly Joyce, had an wonderful sound thanks to her electric chord organ, and her obvious skill at playing it along with the composition of her piece. Sublime in its simplicity with a vast appeal that made me wish her set was longer than three minutes (same amount of time for all the performances). She was really great.
"Sound Motion" (by Joseph Pehrson), with Susan Dominges,
& John Clark.
"in8" by David Morneau
"in8"(by David Morneau) is, first off, a thing that is the embodiment of retro-America and the modern tech-social revolution, aware of its present and imminent future, while still holding on its past. Morneau skillfully used a "Gameboy" to perform a contemporary musical piece that was analog-minimalism, and really cool. It was strange to behold and definitely held the crowd in awe. I think he played the same piece using the "Gameboy" @ last years C.C festival (part 4 "electronics").
"Going coastal" (by John Clark), with David Taylor,
and Franz Hackl. 
"Going Coastal"(by John Clark) was an interesting piece with a sharp, smooth sound that came off electric with a jazz feel the way the horns melded nicely with Taylor's bas trombone.

Angela Babin's "A fib" was wildly clever in its conception- based on the Fibonacci numbers, and her skillful execution of it. Babins guitar working perfectly in time with Sylvie Degiez piano. It was some kind of wonderful, both musicians coming together in a way that magic. 

Angela Babin, "A fib"
Sylvie Degiez after playing with Babin for "A fib"
Robert Voisey, "Melting"
Voisey's "Melting" was a sudden change of pace (just vocals with electronics), a very well done performance of a moving piece delivered with care, making an instant connection with the audience.  
Daniel Palkowski performing "Platypus blues" (by Dan Cooper)
Dan Cooper ("Platypus blues") & Cesare Papetti
Dan Coopers "Platypus blues" was one of the best performances. His 7 string bass dominating the performance without drowning out the rest. It had elements of rock/blues & jazz/funk, with its deep hitting sound, which made the audience serge with joy. Cooper really hit the mark on that one. There was something absolutely powerful and hardcore about his piece, which has earned him the title "Dan-the-man" Cooper: Bad-ass! 
"Einstein's three rules of work" (by Gene Pritsker,
with Milica Paranosic & Patrick Grant).
"Einstein's three rules of work" by Gene Pritsker, the 2nd performance involving "i-pads", was a great electronic-minimal piece that had an ambient abstract feel. Wickedly delivered by the three and causing a real stir with crowd. It was awesome to hear and realized the scientific connection between Einstein, creativity, and technology via the "i-pad" which is causing an almost revolution in music and the way it reaches people, and the ease of getting that to happen.  

"Mini_001" (by Paul Pinto-[piano], with Tom Swafford & Isabel Castellvi)
"Mini_001" by Paul Pinto, yet another stellar piece that struck a cord in the crowd and had them shocked & laughing. Not just wonderful for the skill of the three, but the spoken word dialouge that was witty, charming and totally vulgar in its execution. I never thought I would hear the phrase pussy on stage from three classical performers, one of who seemed too young to drink @ the bar (the lovely miss Castellvi). They were passionate in their playing and f#$king brilliant! 
"Aphrodite's Dance" by Nataliya Medvedovskaya
"Aphrodite's Dance" by Nataliya Medvedovskaya made you feel a sultry romantic mood, tinged with the somber. Her playing was skillful and sharp as she was beautiful in her total passion for the piece. There was a slight dark playfulness to it all, fully expressed through every key she struck, radiating from her right into the crowd. 
"Aphrodite's Dance" by Nataliya Medvedovskaya
"Two Parts Inventions" by Daniel Schnyder
with Monica Ellis
Powerful, smooth, with an up-beat flow that made the crowd come alive was the effect of "Two parts inventions" by Schnyder. Both him and Ellis were fantasic together, melding like two old friends that had been playing clubs & lounges for years. They really had presence on stage, delivering something beautiful.

"Rubispheres" by Valerie Coleman, with Monica Ellis Mariam Adams
With a wicked tempo and flow that electrified the whole place, Coleman, Adams, and Ellis gave it their all in performing "Rubispheres". It oozed contemporary Jazz/Classical, inventive and smooth in its arrangement, wonderfully performed by the three. This is the 2nd year I saw them perform at Drom for C.C festival, and as last year, they were amazing as they are beautiful.
"Walls and Towers" by Kinan Azmeh
Azmeh was all skill and passion on stage, total immersion in his fantastic piece. Contemporary in its sound composition, and yet tinged with a folk sound of his backround (Syrian). There was something extremely haunting about "Wall and towers" (an excerpt from the original). The crowd loved it, as they did him for it. 

Lisa Dowling, "Bread & Honey"
From the minute I saw Dowling sitting amongst the audience I knew she was in the line and would deliver something amazing. And after a brief tech-problem (which only made her performance all the more better for the wait), she radiated an appeal through her piece ("Bread and Honey") that could not be denied. Her voice, the lyrics, simple use of the bass-cello was amazing.

It made you feel like you were in a Jazz/blues club back in the day, where performers like her were not just a pretty face but had story to tell, a troubled soul, a power all their own. I still can't forget the line, "..the sugarcane is burning.." and the elegant way she said it and looked at the same time. I was smitten, and so was just about everyone else. Hers was probably the best part of the event. Speaking with @ after-gathering the story she told me (all true & personal) was remarkable, as was the lady her-self. She is wonderful.     
Lisa Dowling, "Bread & Honey"
Lisa Dowling, "Bread & Honey"

From left to right; Gene Pritsker, Dan Cooper, Milica Paranosic,
Patrick Hardish & Joseph Pehrson. 
If you would like to know more, go "Art is the reason, art is the way" 

1 comment:

Angela Babin said...

Thank you so much for your intelligent and attentive eye and ear for contemporary music. Much appreciated!