A Jazz Celebration Encore

MIM:  This holiday celebration brings back the Marty Ashby Trio from Pittsburgh to share the stage with Arizona’s hottest jazz talent.  Along with favorites from the summer show, the Encore program will also highlight several new world premieres as well as music that celebrates holiday traditions from around the world.

I have always convinced myself that I like jazz.  Ok, or at least I feel like I should like jazz.  After all, I was in the jazz band in high school.  We have an easy-listening jazz CD.  Obviously, I should like jazz.

Epiphany #1:  There are many people out there that REALLY like jazz.  Sponsored by the local jazz radio station, the jazz enthusiasts came out in droves. 

Ephiphany #2:  I don’t really like jazz after all.  Ok, its enjoyable and I appreciate the musicianship.  But I don’t follow the artists, I recognize but cannot name most of the songs, and I’m jazzed out after an hour.  Luckily I was able to sneak out at intermission.

Perhaps I’m being a little hard on this show.  It was beautiful music and the skill of the artists is impressive.  The music was familiar and the few holiday songs were perfect for the occasion.  Overall, I felt the show was exactly what was promised – a lovely afternoon of jazz favorites.

Michael Miles: “From Senegal to Seeger”

www.milesmusic.org

MIM:  Musician, composer, musical playwright, actor – Michael J. Miles is a rare artist who combines talents from numerous artistic disciplines.  He is a creative force who has produced a remarkable catalog of musical works, including recordings, books, and stage productions.  He is also an educator who works in university settings as well as in the Chicago public schools.  As a musician, Miles has contributed groundbreaking work on the banjo that has put him in a category all his own.  The Chicago Tribune’s Harold Rich said, “Miles has dared to take on some of the most dramatic and profound music ever written, and succeeded.”

The performance was a history lecture – a surprising evening when I was expecting “Dueling Banjos” and folk art.  Miles cleverly wound his way through teaching the history of the banjo that we completely forgot we were learning something and became absorbed in the story. 

The banjo was borrowed from slaves brought over from Senegal and adopted by America as an instrument all our own.  Considered a slave instrument for most of the 18th century, its music later bridged the gap between black and white and became a popular instrument of the working poor.  Miles has a collection of banjos on stage – including an Africa variety, an original Civil War model, and a 40 year old guitar – and he integrated the stories of the instrument in with the chronicles of American history. 

He quoted Mark Twain.  He acted out Pete Seeger’s testimony before the House Un-American Activities Committee.  He sampled over 20 songs and played 5 different banjos. 

I was surprised and pleased with this performance.  Frequently I wish my brother could be a shows with me; tonight, I wished my Dad could have joined me.  Although the second half was slower and less purposeful, I sincerely felt I learned something and was thankful for the experience.  Nicely done, Michael Miles.

Monty Alexander

www.montyalexander.com

MIM:  in a career spanning four decades, jazz pianist Monty Alexander has spent a lifetime exploring sounds that graft the traditions of American jazz to his authentic Jamaican roots.

Born and raised in Kingston, Jamaica, Alexander took his first piano lessons at age six.  As a youngster, he was often invited to sit in with the bands of prominent musicians working in Jamaican nightclubs and hotels.  Alexander came to the United States at the end of 1961, and less than two years later he had landed a gig with Art Mooney’s orchestra in Las Vegas, where he caught the eye of New York City club owner Jilly Rizzo and his friend Frank Sinatra.  Rizzo hired the young pianist to work in his club, where he accompanied many well-known performers such as Sinatra. 

Yes, Monty Alexander is a legend – that much is true.  With the two other members of his trio, he played a wide range of jazz piano pieces, classic melodies, and gentle melodies.  The entire performance was beautiful, if not entirely memorable.  A nice night of music.

Lakota Sioux Indian Dance Theatre: “Copata Upo! Come to the Center”

MIM:  An unforgettable event featuring some of the most highly acclaimed performer of the Sioux Nation.

Playing for Change

www.playingforchange.com

This was a different experience for me:  ushering at the sound check prior to the Playing for Change concert (happening later in the evening).  The sound check was open to school children and their parents and was considered an open practice.

Our ushering responsibilities were slim-to-none.  We had to hold the kids in the lobby an annoying amount of time before the performers would let us in.  There were no tickets, open seating, and about 40 people total.  The children (mostly middle-schoolers) were well behaved – or maybe any disruptions were masked by the loud music.  After an hour, we shooed them out and locked the doors.

Playing for Change is a mostly reggae group singing of peace and love and togetherness.  Their message and music was familiar, although they did do a surprisingly good rendition of the Beattle’s “Revolution”.  The vocals were great and I loved Grandpa Elliot, their older bass vocalist and harmonica player.

Viewing the practice gave us new insight into the artists.  They did not interact with the kids (too bad) but they did some adaptations of songs on the spot, practiced different parts, tuned the instruments, set-up the stage, and in general WORKED.  I think it was great for the kids to see that being a performer is not all about signing autographs.

I’m not sold on these matinee shows and I probably won’t do a lot of them.  It was exhausting and we spent a lot of time waiting.  But I did get to give a quote to the volunteer intern that may be used in their brochure – how fun!!

The Rose Ensemble

www.roseensemble.org

MIM:  Based in Saint Paul, Minnesota, and founded in 1996 by artistic director Jordan Sramek, The Rose Ensemble creates imaginative performances of vocal and instrumental music, connecting each individual to past worlds with stories of spirituality and humanity.  The group has thrilled audiences with repertoire spanning one thousand years and over twenty-five languages, including new research in Hawaiian, Swedish, Mexican, and American vocal traditions. 

For its performance at MIM Music Theater, the Rose Ensemble will be performing “Il Poverello – Exploring the Life and Deeds of Saint Francis of Assisi.”  This joyful program features centuries of hymns, dances, and motets in honor of the “hippie saint,” as well as early Italian spiritual songs and lighthearted readings by and about Francis himself.  Audiences can look forward to full force of twelve voices, plus harp, riqq, dumbek, hurdy-gurdy, psaltery, and recorder, as well as featured guest artist Isacco Colombo.   

We were warned ahead of time that we’ll either love or hate this performance.  While I did not love it, I was intrigued by the musicality and beauty of the music.  Everything – from instruments to musical selection to the readings inbetween pieces was unique.

The music was almost fully acapela by different performers.  The harmonies were incredible and the melodies were complex and delicate.  Aaron would have loved this performance and I may still buy him a CD for the collection.

I’m very appreciative and thankful I saw this performance.  I doubt I would see it again however – maybe once in a lifetime is enough.

Alasdair Fraser & Natalie Haas

www.alaisdairfraser.com  or  www.nataliehaas.com

MIM:  The musical partnership between Alasdair Fraser, long regarded as Scotland’s premier fiddle ambassador and the sizzlingly talented, young Californian cellist Natalie Haas may not seem an obvious one.  Natalie Haas, a graduate of Juilliard School of Music, was not even born when Fraser was winning national fiddle competitions on the other side of the Atlantic.  But this seemingly unlikely pairing is the fulfillment of a long-standing musical dream for Fraser, whose cutting-edge musical explorations took him full circle to find a cellist who could help him return the cello to its historical role at the rhythmic heart of Scottish dance music.  Haas was just eleven when she first attended Fraser’s Valley of the Moon Scottish Fiddling School in California, where she responded to Fraser’s challenge to find and release the cello’s rhythmic soul.

Four years later, when Haas was fifteen, they played their first gig together.  Fraser and Haas’s debut album, Fire and Grace, displays dazzling teamwork; driving, dancing rhythms,; and the duo’s shared passion for improvising on the melody and the groove of Scottish tunes.  The record won not only critical acclaim but also the coveted Scots Trad Music “Album of the Year” award, the Scottish equivalent of a Grammy.

Perhaps I’m purposely selecting Scottish / Irish fiddle music.  Perhaps it appeals to me.  Perhaps this gives me something to discuss with Nathan.  In any case, fiddle is amazingly entertaining and this duo put on a great show!

I had never heard of Alasdair Fraser before but apparently he’s well known.  My brother Nathan, the fiddler, even knew his tour schedule was taking him through Montana.  And he was amazing – his love for Scottish music was infectious, his technique was graceful and effortless.  However, I spent most of my time watching Natalie Haas.  I was really naive to the levels and sounds achievable on the cello.  She played harmonies, melodies, base rhythms.  She mimicked the fiddle, the drum, the bass guitar.  It was beautiful.

They did play a lot of Scottish dance-hall music and Alasdair did a great job explaining the regions and time periods of origin.  They even did a baroque period piece.  However, they also wound their tour through Spain, Canada, Ireland, and Scandinavia.   He even tried to teach our poor American crowd to dance in their last number!

So yes, I do see a lot of Scottish / Irish shows.  And as long as I continue to enjoy them, I’ll continue to sign up for them.

Spirit of Nature

MIM:  “Mistress of the pipa” Goa Hong and acclaimed Chinese flutist Chen Tao come together for an unforgettable performance.

I suppose the sounds and harmonies of traditional Silk and Bamboo Chinese music are familiar.  Even Elayna would recognize the instrumental melodies from “Kung Fu Panda”.  Nevertheless, I’ve never heard the instruments performed before and was looking forward to this show.

The performers had a pre-arranged set list and gave detailed introductions to their instruments and songs.  They took us on a journey around China and played several solo and duet songs.  The entire show was delicate, relaxed, soothing, and beautiful. 

A highlight for me was Chen Tao’s demonstration of the Xun, one of China’s oldest instruments that dates back to the Stone Age.  This was a small clay pot, blown across, with anywhere from 1 to 5 holes.

Gao Hong also described the pipa in detail – a Chinese lute.  This instrument was designed to mimic sounds:  drums, gongs, laughing, water, fireworks.  It was extraordinary the types of noises she could create with one instrument.

There was one downside:  the instruments were so soft and the mood so somber that guests were hyper-sensitive to disruptions.  One of our frequent guests was asked to leave because his oxygen tank was disturbing others.  I don’t like the idea that someone can’t enjoy the show, but I also was very annoyed that guests would complain about something like oxygen.  This job is always a learning experience in human behavior!

Son de Madera

MIM:  Son de Madera specializes in son jarocho, the vibrant improvisational music of Veracruz, Mexico, that features jarana and requinto “guitars”, call-and-response singing, and the rhythmic zapateado percussive dance style.  For 20-years, Son de Madera has preserved the traditions of son jarocho music while keeping it contemporary and relevant hundreds of years from its inception.

Son jarocho’s beginnings can be traced to the time of Spanish colonization.  Veracruz communities absorbed the hints of Arabic culture found in the conquistadors’ songs and dances, as well as musical influences from Africans enslaved in the coastal state during the 16th and 17th centuries.  Near the end of the 1800s, jarocho music was formally recognized as a defining part of Mexico’s cultural identity.

I especially enjoy shows that pair cultural aspects along with the music.  I definitely felt this evenings show delivered on both.  First the musical style was exactly as I expected – light and fun, heavily rhythmic and engrossing.  I was not surprised when the band played ‘La Bamba’ prior to the intermission.  This is Mexican music.

But where Son de Madera excelled over a restaurant mariachi band was in their performance.  The guitarists were exceptional and would accompany the instruments with boisterous voices and stomping feet.  The bass was completely new – a box that the musician ‘plucked’ while sitting on it.  I spent most of the evening watching the female dancer.  She stood on a wooden platform box and her dancing was an instrument in and of itself.  With her flowing skirts and beautiful scarves, she was an artist that transported us to a Mexican festival, full of colors and rhythm.

The audience was also fun.  Many were Mexican and appreciated that the band only spoke Spanish.  They clapped and yelled and brought the whole family, but there was surprisingly no dancing.

All-in-all, an enjoyable concert and something I’d enjoy seeing again.

Toumani Diabaté

MIM: Grammy winner Toumani Diabaté is a performer of truly exceptional virtuosity and creativity - he shows that the kora, a unique 21-string harp, can rival the world's greatest instruments.

What a unique instrument!! Mr Diabaté was a very unique concert, and my first exposure to the kora. He demonstrated how he played the guitar/harp instrument with only his thumbs and index fingers and yet it sounded like a full ensemble. In total, he played only 4 songs - each about 20 minutes a piece and each primarily his improvisation. The melodies were very soothing. It was a lovely, calming mid-week show.

Jeremy Kittel Band

MIM: The Jeremy Kittel Band sports more accolades than we can mention. Winners of multiple U.S. National Scottish Fiddle Championships, six Detroit Music Awards, the World Music Award for percussion, the International Society of Bassists Jazz Competition, & multiple National Fiddle Championships combine in this band, and that's just for starters.

Jeremy's reputation was definitely deserved - this kid could play! His bag of tricks included a variety of styles: jazz, classical, Irish. And the rest of the band was very talented; this was their first show together and they sounded like they'd played together for years.

Tonight was a first for me on an ushering level: a disgruntled, annoyed guest! We have a strict no-camera policy and I was rudely confronted when I asked this woman to put hers away. Apparently she was a friend of Jeremy's and apparently she had Jeremy's permission -- but since I detest confrontation it was an uncomfortable situation. Perhaps I need a thicker skin.

But I also had a great compliment as well. I was an aisle usher this evening and helped several guests with their walkers. After the show, a bi-stander told me he appreciated how kind I was with these ladies. It was a very nice boost!!

Tommy Emmanuel

http://www.tommyemmanuel.com/

MIM: Legendary “finger-style” guitarist Tommy Emmanuel is one of Australia’s most respected musicians and winner of two ARIA awards (Australia’s answer to the Grammy). His unique finger-picking technique is a masterful mix of dazzling melodic invention and rhythmic percussive effects that have attracted hundreds of thousands of loyal fans worldwide.

In this job, I frequently marvel at what I didn’t-know-I-didn’t-know. The Tommy Emmanuel show was a perfect example of my ignorance. I had never heard of Tommy but was quickly overwhelmed by his sea of fans. The show was sold out and many of the guest were frequently Tommy followers and ardent fans. I enjoyed watching the crowd throughout the show most of all.

Tommy was a showman and wowed the crowd both with stories and with his guitar playing. His repertoire was varied – from bluegrass to jazz to country – and he displayed a new style of guitar playing that incorporated both rhythm and melody in one instrument.

Tommy also had an opening act – Chase Foster, a young musician who was equally engaging and fun. He played many favorites and it was easy to sing or clap along with him. In some ways, I enjoyed Chase more as his music was more approachable and his youth so likeable. Very good opening act!

Old Blind Dogs

www.oldblinddogs.co.uk

MIM: Since forming in the early 1990s, the Old Blind Dogs have stood on the cutting edge of Scotland’s root revival.  Dynamic percussion, polished vocals, soaring fiddle, and stirring pipes fuel the band’s energetic trademark style.

Unfortunately, the drummer for Old Blind Dogs was unable to fly to America due to a family emergency.  At the end of the show, we realized we had hardly missed him.  The three other members of the band were extremely solid and played so well together that the show was highly enjoyable.

The Scottish melodies were hypnotizing and soothing, fun and joyous, familiar and welcome.  I was fascinated by the Scottish bagpipe, played with an arm bellow.  Since I’ve heard so much Irish music, this was an interesting contrast with similar themes and styles.  I thoroughly enjoyed this show – one of my favorites.

Cimarron

www.CimarronoOnline.com

MIM: Cimarron is the most accomplished Llanera group in Columbia. A seven-piece ensemble lead by harpist and composer Carlos Rojas, tha ave been working for over twenty years. These musicians are immersed in the sounds of 'los Llanos'. The seek to explore and experiment with their rich heritage while retaining the essence of the tradition.

Los Llanos Orientales are vast plains that stretch from Columbia into Venezuela. The mestizo people that inhabit these savannahs on the great Orinoco River are descendents of Spanish settlers, African slaves, and indigenous Indians. This is cattle-rearing country, where life revolves around country ranches and music accompanies the daily working tasks such as milking and cattle drives. Most striking is the festive dance music called joropo, a fiercely virtuoso display of rippling melodies played on harp, bandola, and cuatro, and accompanied by bass, cajon, and maracas. This rapid and joyous music is sung with high-pitched voices reminiscent of Andalusian gipsy roots.

What a fun show!! I was blown away by this concert – the energy, the tradition, and the musical styles. Frequently I feel like I’m exposed by a whole new world in the theatre and that was definitely true of Cimarron.

First, the ensemble includes a harp, several guitars, a fiddle, and several drummers. It almost sounds like a joke in the making. The female lead-singer was the weakest musician but the music was so authentic no one cared. The primary drummer was incredible, arranging so many different sounds and beats from one instrument! And they all could and did dance.

I was enchanted through the majority of the concert. I felt transported to Colombia and enjoyed the trip very much. An example: the woman only spoke Spanish onstage and we were surprised to hear them speak English afterwards.

Sierra Leone’s Refugee All-Stars

www.RefugeeAllStars-Audience.fm

MIM: Formed by a group of refugees displaced during the Sierra Leone civil war, Sierra Leone’s Refugee All-Stars is a reggae-influenced band with a humanitarian purpose.

This concert was as much about people-watching as band-watching!! The band was large and brought their family and friends with them. They also were popular with music lovers and had a great story of survival. The music was upbeat and loud and the audience couldn’t sit still. Dancers lined the back and several swayed in the aisles.

The reggae-influence was the most surprising to me – brought back to Africa at the end of the slave-trade from Jamaica and the Caribbean.

I respected their story and musical-talent, even if this wasn’t my favorite show. The loud drums and rhythms gave me a head-ache and I didn’t enjoy it as much as I should have.

Los Texmaniacs

www.Texmaniacs.com

MIM: 2010 Grammy winners Los Texmaniacs create a unique Tex-Mex groove that blends Texas rock, conjunto, well-cured blues, and R&B riffs.

With a strong blending of fiddle, accordion, and guitar, these guys were fierce! There music was toe-tapping fun and they engaged the audience through the entire performance.

I was surprised at the Cajun influences in their Texas music. In the 20’s and 30’s, German and Czech immigrants (my ancestors) settled in the East Texas area bringing the accordion with them. It was not long before the Cajun French and Mexican influences had melded into the music Los Texmaniacs play today. It really was a fascinating show.

Laurie Lewis with Tom Rozum

Inaugural Music Theater Performance

MIM: Recognized for her ability to incorporate traditional bluegrass instruments and vocals into an exciting musical style all her own, Grammy-award winning fiddler, signer, and songwriter Laurie Lewis provides a seamless mix of pure country and classic bluegrass.

Opening weekend – how exciting!! I was both nervous and excited for the first show in my new volunteer position. I worked as a Greeter at the front door and quickly overcame my butterflies by chatting with our guests. Everyone was in a great mood, needed directions or help, and were dazzled by the new building.

For this first show, I spent most of the concert in the lobby awaiting late arrivals. I was disappointed to not see the whole Laurie Lewis show, but the few songs I did sneak in for were exhilarating. Laurie and Tom were a magical duo. She told wonderful stories and their songs were catchy and sweet and pure bluegrass soul.