C.C festival 2 ("evolution") Part 5 @ The Dimenna Center

This months cover by K.K.W.
Central Park, Fuji-film 400

Composers Concordance Festival 2 ("Evolution"). Part 5 - 'Legends' @ The Dimenna Center. Article & photos by K.K.W 

From left to right: Thomas Carlo Bo (conductor), Gene Pritsker,
Milica Paranosic & Dan Cooper

As I made my way downstairs to the concert hall most of the seats were taken, and orchestra was going through the last tune-up, waiting for the conductor to signal the beginning...of 'Legends'. Last of the 5 part Composers Concordance festival 2, and 'legend' ended it with a bang.

The theme of this last part is devoted to honoring elements and the influences of the timeless melodies of Antonin Dvorak (who spoke of the influence of Native American and African American music on his symphonies & who urged American composers to focus attention on what "must" be the future of music in this country).   

Mrs Luening (wife of Otto Luening)

23 musicians (20 making up the orchestra) taking part in performing 12 pieces (7 of which were premieres), with 4 solos and Thomas Carlo Bo conducting the orchestra. "Traditional/John Sarantos, Zuni Morning call/Kum Bah Yah" was certainly interesting, with great momentum and arrangements that made for a terrific opening. Sarantos' solos (via Native American flute)were a thing of joy. His command the instrument not unlike a swami charming a snake. The sound was almost to soothing.

"Akep (Thank you in West African Ewe language)II" by Milica Paranosic struck deep with its notes and elegance, causing the audience to open up to it like a flower would to the sun. Its energy surged through the hall and invigorated everyone.   

LeeAnet Noble (African Percussion & Dancer)

LeeAnet Nobles "Drum Progression" was powerful in its sound, flow, and placement amongst the other pieces. In a way it was a shock and yet it was the perfect change-up, to reaffirm its place as being every bit as relevant & needed in American music.

Joseph Pehrson's "Inde" moved with a grace and style of contemporary American music that seeks to include themes, from its various Non-European ethnic groups. In this case "Native America"- Three songs of Memberton, Kayowajinet and Yuma Lullaby. His use of additional arpeggiation in the string & wind parts made for a unique sound.

Gene Pritsker's "Songs So Wild and Wayward" was one of the best of the evening. The main source of the concerto (opening & closing it) is from a track for a solo male singer from the Iroquois tribe. While the "...groove-oriented.."(1) middle section of the concerto coming from a rhythmic Cree call and response chant. He named the piece after part of the poem "The Song Of Hiawatha" by Henry Wadsworth Longfellow.

"Blue D" by David Taylor, an unaccompanied bass trombone homage to Dovark's Humoresques, was very moving with its intricate balance and moments of exuberance.       

Valerie Coleman during the solo for her piece,
"Red Clay & Mississippi Delta".

"Red Clay & Mississippi Delta" by Valerie Coleman was extremely memorable in its sound. A strong, tender feel of music in smokey joints where the liquor was cool and the instruments were too damn hot. Classical in its approach and composition with subtle rhythm/Blues feel.     

Valerie Coleman 

Lara St John & conductor Thomas Carlo Bo

When the concert began I hardly noticed Lara St John sitting quietly to left of the orchestra, waiting for her solo. And of the three solos hers was the best. As the bow touched the strings of her violin the air became warm, and the crowd held captivated as the music radiated from her passion. She rocked, swayed, moved as if controlled by one of the nine muses, her solo rolling gently into rest of the piece with the orchestra. She was amazing.

Lara St John & conductor Thomas Carlo Bo

Lara St John

Lara St John

When it comes to the orchestra, they were passionate, precise, and powerful. Bechtold, Takeda, Maneein, Stillwell, Sielaff, Ting, Gotay, Edens, Fieldes, Coleman, Wilson, Suzuki, Primis, Clark, Hackl, Taylor, Jarvis, Garcia, Kigawa and Cano gave it their all and played as one, the collective sound filling the hall with "A kind of Magic" (2).  

John Sarantos

At the end the crowd stood up & them their due & proper.

Composers Concordance is arguably one of the most engaging organizations for contemporary music in New York City, striving to present music interesting and innovative ways. Having gotten to know them, others affiliated with them over the last year, its been informative and a lot of fun. 

If you would like to know more, go to:www.composersconcordance.com, (1) Gene Pritsker, (2) Title of the song by Queen from the movie "Highlander".   

C.C festival 2 ("Evolution"), part 4 @ Shape-Shifter Lab

This months cover by K.K.W.
Central Park, fuji-film 400

John Clark (left), & Franz Hackl

Kinan Azmeh (far left - clarinet), Dave Soldier (violin),
& Peter Jarvis (back - percussions)

Composers Concordance Festival 2 ("Evolution"), part 4 @ Shape-Shifter Lab.

With three parts having already happened of their five part festival, C.C had come together for what would be a great showcase of music @ Shape-Shifter lab (bringing their musical creativity to Bklyn). Entitled "Nine-Live" (nice play on the phrase "Nine-lives"), it was an ensemble of 9 composers performing 9 different pieces written by each of them.   

Dan Cooper (7 string bass)

Out of the 9, four of the pieces were premieres, while the others were excerpts or full compositions created at another time. The nine of them together had a very unique presence and sound, you could hear the individual skill of each. Although, at times it felt as if they lacked full cohesion that would propel them as one. 

Gene Pritsker (front-Guitar), & Dan Cooper-7 string bass

"Festival music":Peter Jarvis, "Miser Miser": Dave Soldier, "Dodola": Milica Paranosic, "Herky-Jerky": Gene Pritsker, "Cures":Patrick Grant, and "Tu Felix Jump":Franz Hackl, were all really well composed pieces, each with a great sound, flow and feel. Interesting arrangements, syncopation(especially "Tu Felix Austria Jump")and a contemporary vibe all there own. 

However, the best pieces I think were "Gefilte Funk" - arguably one of Dan Coopers best - with its Jazz/Funk, contemporary sound that really seemed to bring the nine composers together and bind them as one. The piece had edge to it that made you perk-up and listen, Coopers 7 string bass guiding the flow without being overbearing. I could tell the audience loved it. "Outrage" by John Clark was also one of the best. Clark was seriously on point with this. Somber, playful, with a wicked dramatic touch resulting in sudden collective moments of extreme passion.

The top spot for the evening goes to Kinan Azmeh's "Ibn Arabi Postlude" (after a Arab muslim mystic. "...the piece is inspired by a school of thought in which free thinking is sacred, and therefore free music is sacred.")A rhythmic piece with the essence of Arabic folk elements on a contemporary scale. It brought out the best in all of the musician/composers that evening, you could here each one's individual best, and yet collectively they truly played as one whole. Gene Pritsker and Dan Cooper's playing melded smoothly with Kinan whose clarinet at first, was subtle, then Hackl (trumpet) and Clark (horn) slipped in gently to prop it all up beautifully, while Jarvis seemed to come to life in a way he did not before- his percussion's fused with the others moving them along like a drummer on a galley-ship providing perfect momentum for the rowers. Milica's sultry voice present, here and there, with keyboard in the mix so well. Patrick Grant tickled the ivory in perfect harmony the others, and of course Dave Soldier's violin really "sang" and came through oh so well. Then it all died down perfectly, and you wanted more, lots more. 

Daniel Palkowski,
who was good enough to film all of their
festival & performer in 2 parts so far. 

Peter Jarvis

John Clark 

Patrick Grant

Milica Paranosic

Dan Cooper

If you would like to know more, go to:www.composersconcordance.com

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 to:www.composersconcordance.com. "Art is the reason, art is the way"