A Conversation with PMAC's Executive Director, Russ Grazier, about the upcoming Jazz Night!

How many years have you been doing Jazz Night? How has it evolved?

Grazier: This is our eleventh year and remarkably, the program has been fairly consistent over that time. It is a very special, curated concert that features the faculty of PMAC's Jazz Institute. It has grown over the past decade from single night concerts at West End Studio Theater to a two-night festival at the larger Music Hall Loft. And though we've been in a larger space at The Loft for the past six or seven years, the concert is still very intimate, with some cabaret seating right up front with the band and never a bad seat in the house. 

What do you like most about Jazz Night? 

Grazier: I love that our faculty comes together to present orchestrated arrangements that require rehearsal and really show of the talents of each musician. This is not your typical jazz show. It features many original arrangements and often unusual, but really wonderful music. We get to play things that we don't typically perform and it's incredibly special. 

Why East Coast/West Coast? How did you come up with the theme? 

Grazier: We've been programming themes for a few years now and East Coast / West Coast provides a wonderful contrast for the two evenings, without being too restrictive. There are many ways we interpret the idea of the opposite coasts in America - you'll have to come out to the concert to hear them! 

Who is your biggest Jazz influence? 

Grazier: I have many influences, so probably better to give you my big three: Oscar Peterson, John Zorn, and Charlie Parker. Three incredibly different musicians, one pianist and two alto saxophonists. I've had the pleasure of seeing Peterson and Zorn live, but unfortunately was born 13 years too late to ever see Parker. Each has a unique approach to jazz, and though I don't really play like any of them, I find their music to be incredibly inspiring. That said, I'm continually influenced by different musicians, and really need to give credit to our faculty, who inspire me every day.

What can the audience expect when attending one or both of the concerts? 

Grazier: A carefully curated, but heavily improvised night of live jazz music that takes you on a journey. We constantly shake up the combinations of musicians and styles of jazz. It's very similar to going to a NYC jazz club show - a 75-minute set that showcases the talents of each musician. 

What music are you listening to these days? 

Gazier: I listen a lot of WGBO via web streaming - it's a jazz station out of Newark, NJ, possibly the best in the country. I learn about new artists every day listening to that station. I'm also really into Ambrose Akinsusire, Chris Potter, David Binney, Marco Benevento, and Terence Blanchard these days.

For the eleventh straight year, PMAC (Portsmouth Music and Arts Center) will present JAZZ NIGHT, a series of curated concerts featuring the faculty of PMAC's Jazz Institute. Join many of the region’s top jazz musicians for this exploration of America's greatest original art form at the Music Hall Loft in Portsmouth, NH. The concerts will take place on Friday, March 16 and Saturday, March 17, two shows each night, 7pm & 9pm. Tickets can be purchased at themusichall.org or by calling 603-436-2400.

It is Radiohead

Several people have asked me about the video I posted last week from the Grammys. The singer is Thom Yorke and the guitarist is Jonny Greenwood, both from Radiohead, performing Radiohead's 15 Step with the USC Marching Band. Katie and I saw Radiohead at the Tweeter Center in Mansfield, MA last August. (Not sure what they will be calling the venue now that Tweeter has gone belly up.) The song is from In_Rainbows Radiohead's late 2007 release that was met with much press when they sold it over the internet without a distributor, and allowed the public to pay whatever they wanted for the album - even nothing if the buyer didn't want to pay. A groundbreaking way to market music in today's evolving market.

To see the AMAZING Grammys video again, click here.

And for my rant on the evolution of the record inductry, go here.

Remembering Dave

It is always tough losing someone.

I am in awe of what Roy Ernst has created. When he founded the first New Horizons Band at the Eastman School of Music in the late 1980s, his mission was to give adults the opportunity to live. Roy understands that life is about passion. It is about never-ending education, connecting with others and being creative. That is the genius of New Horizons Band. Give adults the opportunity to bring music into their lives and see what happens.

Roy targets senior citizens. He knows that after retirement, life can lose meaning for some people. Children have grown up and begun their independent lives. Your profession carries on without you. Roy's mission was to bring interactive music - ensemble music - into the lives of retirees. Those who played music in their youth and had stopped as adults. Those with a desire to return to their youthful pasttime. And those who never had the opportunity to play. Teach them - it doesn't matter if a person is 9 or 90, they can learn to interact musically with others.

I shared a week with Roy and 200 senior citizens this past September in Chatauqua, NY at the International New Horizons Band Camp. Everyone there was living proof that playing music late in life brings joy and meaning into one's life.

Dave came to us about five years ago, picking up the trombone for the first time since the sixth grade. Having just retired, he had the time to return to a favorite childhood activity. He picked the instrument back up quickly. He practiced like a madman - to the point that he would give my mother, who played euphonium beside him in the band, a hard time for not practicing enough. He dove right in and became a core member of the band.

Dave never stopped learning. It was his goal to constantly explore new musical ideas and improve his skills. He recorded rehearsals on a mini tape recorder so he could practice with the recording at home. He joined the PMAC adult blues band to learn to improvise, and played in our summer big band, soloing from the heart without a shred of music to rely on.

Dave lived. He was always the first to volunteer to come help move equipment. Just last month he was carrying timpani and music stands into the church before our winter concert. First to arrive, last to leave. He constructed Christmas parade floats for the band, took out the PMAC trash and recycling every week, and gave a helping hand wherever needed.

We should all be so lucky to live our lives as fully and completely as Dave. And I am honored to have had him as a friend. Losing Dave yesterday came as a shock to me. It shocked us all. Less than two weeks ago he was playing and recording our band rehearsal. It was Dave's last rehearsal, and I'm proud to say it was a damned good one. He played better than ever, and that's the honest truth.

Thank you, Dave. We'll miss you. And I for one will try to live up to your example.

The following video was taken about two years ago. I found it on my hard drive - a short example from a rehearsal - a mere 45 seconds. Dave is playing the trombone, and yes, that's my mother sitting beside him (and my father is on trumpet behind him).

The Joke is on those "in the know"

Emanuel has an axe to grind...Emanuel Ax that is. The concert pianist and conductor recently devoted a blog entry to the antiquated tradition of audiences remaining silent between the movements of classical piece. Many of us have experienced this - the orchestra, or pianist, or chamber group finishes a magnificent, boisterous first movement of a classical piece of music, and then a small group of audience members bursts into enthusiastic applause, only to find the rest of the audience - those "in the know" - glaring back at them, letting them know quite clearly that a terrible faux pas has been committed. Yet in reality, this is a strange tradition that was adopted long after the lives of Mozart and Beethoven. The idea that one can not judge a work, or a performance, even with applause, until the final note falls silent is a construct of the late-Romantic period, when composers like Richard Wagner took their music far too seriously. Some composers such as Richard Strauss solved the problem by writing epic single movement "Tone Poems" rather than symphonies.

Well, in my opinion the tradition has become rather absurd. Particularly when it comes to the flashy showpieces that the opening movements of concertos are. But also in the world of symphonies. I agree with Ax - that the music should direct the response. Conductors can convey this to an audience - though some refuse to - showing when the silence between movements is really not a break, but part of the mood. And by welcoming the joy that comes with an appreciative audiences response to a spectacular performance - even between movements.

In the world of jazz, audience response often comes during the music - applause for soloists, shouts of appreciation for amazing licks, cheering for dramatic moments of ensemble virtuosity. This is a world where the audience is a part of the experience - not just a passive listener. That's the world I want to live in - even at Symphony Hall.

Read Emanuel Ax's blog post on inter-movement applause here. Read the Boston Globe article that further elaborates on the topic here. And thanks to Chip Noon for bringing this to my attention via a Twitter comment!

1st PMAC Performance of 2009

Last night we had our first PMAC concert of 2009 - the make-up concert for the holiday show that was postponed last month due to the ice storm power outages. (Hard to believe that just 4 weeks ago much of NH was without power.)

The concert featured the PMAC Adult Jazz Band, The Portsmouth Men's Chorus, and the New Horizons Band. These three adult students ensembles are fun to listen to and an inspiration to all of us. Populated by adults who made music as a child, but stopped and have returned to music years later, or adults who never played a musical instrument (or sung), comming to music for the first time.

All of these adult groups, plus the Blues Band, string ensemble, flute choir, and saxophone ensemble will begin new sessions during the last week of January. If you have ever thought about trying music in an ensemble setting, maybe now is the time.

Amanda Palmer and Jason Webley in Concert

Last night Katie and I went to see Amanda Palmer and Jason Webley at The Space in Portland (ME). It was a wonderful, intimate concert - great to see them up close in a space that only fits a few hundred people at most. Why don't we have a venue like that in Portsmouth?

Home Alone

In a very rare occurance I find myself home alone for 34 hours straight. Katie headed to NYC this morning with Anna and will not return until late tomorrow and the boys are visiting my sister and brother-in-law in Arlington, MA. Katie is in the city to see Ani DiFranco in concert, and since I'm playing in the band for the PHS production of Grease this weekend, she was very kind arranging to have the kids visit Lori and Ted. So my day involved:

• Driving my parents to the airport (they've gone to Florida for Thanksgiving)


• Doing a little bit of uninterrupted web surfing


• Walking downtown to the Music Hall to see a group of PMAC kids perform at the annual Clavinova Festival (see photo below)


• Having a leisurely late afternoon meal at The Friendly Toast where I relaxed reading Alex Ross' new book (I'm so full I'm regretting that one a bit now)


• Heading from there to Cafe Kilim to enjoy a decaf coffee and continue reading my book


• And now I find myself at PMAC catching up on some work (and taking a little break to write a blog entry)


• Next up: a 7 p.m. show of Grease at PHS - and I might stop in at Ginna's on the way (she's having a little get-together)


• Later tonight I'm going to try to stop by Bourbons where Rattlesnake Shake is playing a benefit concert for PMAC

Will I be able to sleep in tomorrow with no one in the house? I certainly hope so.

Performing in Downtown Portsmouth

Last night Jose (drums), Nate (bass) and I (sax) performed in downtown Portsmouth on the Vaughn Mall "stage". We were worried about a rainout all week, and it even rained most of the morning. But come afternoon the skies cleared, and we had a sunny, beautiful evening in the mid-70s. Couldn't ask for better weather. The gig was part of a concert series sponsored by The Wire newspaper and RiverRun Bookstore. I don't think I can recreate the setlist perfectly from memory, but we played the following:

• Blue Monk
• All The Things You Are
• Stella By Starlight
• Alice in Wonderland
• Straight, No Chaser
• Gathering in Blue
• Doxy

Pictures are back

Now that I'm posting exclusively on blogger, I can start using photos once again. Here is one of the wonderfully eccentric and fabulous Amanda Palmer of the Dresden Dolls who stopped to pose for me mid-song while performing Radiohead's "Creep" outside on the street before the True Colors show in Boston.

truecolors

Katie and I caught the True Colors Tour at the Bank America Pavillion last night in Boston. That takes care of one New Year's Resolution - go see a major artist touring concert. Our personal faves the Dresden Dolls were on hand. Here's their unfortunately too short set list:

• Sex Changes
• Shores of California
• Missed Me
• Amsterdam
• Coin-Operated Boy
• Girl Anachronism

More on this concert later!

It's been a busy month!

This has been one of the busiest months of my life, with, thankfully, many ups and few downs. Students performed with Dan Zanes, I co-ran the annual Rotary Club Variety Show, I attended the Business Awards for the Arts, Katie and I saw Brandi Carlile at The Music Hall, Art Speak went before the city council for funding (which we received), and on, and on, and on....

The kids who played with Dan Zanes for two shows at The Music Hall on May 5th were amazing. Here they are on stage with Dan rehearsing in the early morning

Playing with Dan has a huge impact on the students. He just won the Grammy Award for best children's album - and he certainly deserved it. Talk about an artist who doesn't sing candy-coated schlock for the kiddos. He's genuine and the kids get it. Bravo Dan and thanks for making the kids feel at home and part of the band backstage!

Brandi Carlile was amazing. She opened her show with "The Times Are A Changing" - the sixties Dylan anthem, and other notable covers were Johnny Cash's Folsum Prison song (excuse me for not remembering the exact title) and Jeff Buckley's "Hallalujah". Katie and I got to meet her after the show and she's very sweet, humble, and deserves everything she's earned. Another big BRAVO!

And I also should thank the many amazing local performers who participated in the Portsmouth Rotary Club's Second Annual Variety Show at Portsmouth High School on May 6. Jose Duque's Zumbatres with Matt Langley, The Molenes, The Bow Tie Guys, Magician Pete Mamos, comedian Tom Clark, the PMAC Adult Flute Choir, professional silly person Todd Wellington, Tenley Westbrook, Tommy Hensel, Gordon Michaels, Wendell Purrington, Gina Connolly, the Seacoast Civic Dance Company, and of course, the Poo Poo Platters. The event was a hit.

So at this point in the month I'm reeling in exhaustion, though I have quite a ways to go before I rest. In fact, our next mini-vacation is scheduled for July 4th. Only three or four days, and it will be most needed.

Now we move on with this Saturday's Spring Fling at Little Harbour, plus three student recitals, Sunday's Adult Ensembles Concert, Departmental Workshops, Jumpin' in June, etc., etc., etc.!!!! What fun!

A night out on the town

Katie and I caught two great bands in Portsmouth last night at two of the city's most vibrant (and different) venues - The Press Room and The Red Door.

There is one question I find myself being asked an awful lot these days. It comes in many forms but basically boils down to the same thing: "Does Portsmouth have a healthy live music scene?" My experience is that the answer to this question has to do with who you are. Musicians, almost without exception, are concerned that the number of live performance venues is down, that the downtown neighborhood, with recent increases in residential units (condos), has become more and more unfriendly to the local music scene, and that it is harder for local bands to get booked in the remaining venues, particularly the larger venues. Non-musicians speak fondly of the thriving music scene, that no matter what night, there is somewhere to go, with something good to hear.

Though the Portsmouth music scene is not without its problems, I think the non-musicians may have a better perspective on the whole. We sometimes forget that this is a small community, only 20,000 strong. It may be unrealistic to expect the cultural climate of much larger cities. In fact, I would bet that Portsmouth outdoes most American communities twice its size in the area of live music. Does that qualify the climate as healthy? Maybe not. But it lessens the impact of doom and gloom statements about the scene.

I'm going to spend some more time thinking about this and maybe write more on it in the future. I hate to jump to conclusions on it. And I want to have a good answer the next time I'm asked (most recently it was by a reporter from Foster's newspaper at the RPM Challenge listening party).

In the meantime, I continue to make every effort to get out and hear local music. Last night was a great opportunity as two bands I'm very familiar with were performing. First, Katie and I went to The Press Room to hear Jose Duque's Zumbatres with Jose leading the way on the drums, Nate Therrien on bass and Mike Effenberger filling in on keys. About halfway through the second set they were joined by saxophonist Matt Langley. Needless to say, I know these musicians well - all four teach at PMAC. But it was the first time I'd had the opportunity to hear them play in this combination. The house was full, attentitive and very appreciative, with applause recognizing every solo. And the set I was there for was very strong (as I assume the whole evening was). I consider it a great thing that The Press Room still holds true to it's seven-day-a-week live music promise. If you've not heard Zumbatres, check them out. They are a mainstay of the local jazz scene.

We did leave a little early though, to catch an up and coming group on the local scene. The Molenes were nominated in the Roots Rock category at last week's Spotlight Awards, and though it went to veterans Pondering Judd, The Molenes were just as deserving. Lead singer Dave Hunter looks the part - he could give Chris Issak a run for his money. The group is tight, and had the friendly demeanor of a house band in the intimate confines of The Red Door, which was as packed as The Press Room - a vitality sign. Live music is alive and well in Portsmouth. It was late for Katie and I, though the band was just getting going, so we only stayed for a few tunes, said our hellos to friends, and quickly retired home. But I have a renewed interest in getting out, particularly on Mondays, when these two venues regularly feature local live acts. So if you question the scene - when was the last time you were at either venue on a Monday? If you haven't been, either ever or lately, it's time to check it out.

The Firebird Ensemble at The Music Hall

Most every American wants to be a rock star - American Idol repeatedly demonstrates this. And tonight it was evident that the members of Boston's Firebird Ensemble are no exception.

Tonight Rebecca and I ventured out to The Music Hall, braving the freezing temperatures, to have a contemporary music adventure. I was intrigued by a luke warm review of The Firebird Ensemble's performance in Somerville, MA last week - not intrigued so much by the luke warm nature of the review, but by the repertoire discussed in the review. It seemed an eclectic and adventurous mix of new classical works and arrangements of pop tunes for classical instrumentations. Something we don't see enough of in Portsmouth. So I felt a strong urge to be there to witness the evening.

The members of the ensemble are more than competent. Though only one member stuck out in the crowd - the talented flautist Alicia DiDonato (described as a "Firebird Frequent Flyer", not a "Core Member" of the ensemble). Of the more than a dozen works performed, her technically and musically brilliant interpretation of Ian Clarke's Zoom Tube (1999) made one overlook the novelty factor of the composition, and merely witness in awe a powerful and natural performer.

The program was pretty unbalanced. It seemed that there was little of substance as far as the music was concerned. Each half was distinctive. Part one was "classical" contemporary music, with the exception with the opening set of Schoenberg Caberet Songs from 1901. It seems they were chosen because the evening was a celebration of Frank Jones in Portsmouth, and since Frank Jones came to Portsmouth in 1901, it was naturally appropriate to perform a piece from that year. Nevermind that the piece was completely disconnected from the tone of the evening that followed.

Next was a series of new works, the oldest of which was composed in 1988, that culminated with the aforementioned Zoom Tube. Unfortunately, the only other piece of note on the first half of the concert was Roshanne Etezady's Unsafe (at Any Speed) (2001), the title of which refers to a classic book by Ralph Nader, and specifically about his criticism of the Corvair automobile. This piece for piano and percussion, was energetic, inventive, and performed with intensity and vigor by Sarah Bob on Clavinova (though I would have preferred a grand piano) and percussionist Aaron Trant. Trant was additionally featured in the first half as a composer. His composition, Dictit (2001), is a series of three pieces for two instruments that are improvisatory in nature, though I'm not sure I get the first movement, which juxtaposes a twelve-tone theme with improvisation. The problem in my mind is that twelve-tone music is the embodiment of compositional control removed from a tonal environment. Yet improvisation is the embodiment of compositional freedom. And the improvised solos, played against the twelve-tone lines, were jarring in their use of recurring and repeated pitches, which seem so foreign to me in a twelve-tone context. So I found my self in a philosophical dilema, one that the music was not interesting enough for me to thoroughly think through. But vexing just the same.

The second half of the program was essentially rock cover tunes, many of which were arranged by a young (17 years old) guitar virtuoso, who made the trip up from Massachusetts to sit in on a few tunes. While the young Fred Sladkey's arrangements were in many ways the most interesting music of the evening, they didn't have the weight to carry a program.

So, all in all, the evening was a bit of a bust. But I commend The Music Hall for its adventurous programming. I certainly enjoyed getting out on this chilly eve to hear some live music. And their batting average is still the highest of any musical venue in the region.

Amanda was right about The Onion Cellar

Last night Katie, Chris and I attended the final show of The Onion Cellar at the American Repertory Theatre's Zero Arrow Theater in Cambridge. Amanda Palmer of the Dresden Dolls, who the show is centered around, has repeatedly expressed anguish and frustration over the show, which was in some ways hijacked from her by the show's director. Now that I've seen the show, I understand her perspective.

Last July, Katie, Adam, Rita, Steve and I attended the ART production of Chopin. It was a compelling show, well produced, very musical and entertaining. We had a great night. It was then that we first saw the posters for The Onion Cellar: Starring the Dresden Dolls. I was intrigued - the idea of a top notch theater company producing a show around a cult punk group - punk cabaret, as the Dolls have defined themselves.

I had read a bit about the Dolls but had yet to hear any of their music. I had the idea of catching The Onion Cellar in the back of my mind, but didn't pursue any of their music at the time. Then, I stumbled across some videos of Dresden Dolls performances on YouTube. I was instantly smitten with the group. I purchased all of their studio CDs (a whopping two) and began to listen to the music. It was an experience not far removed from my discovering David Bowie in my teens. In fact, I'm grateful to be about ten years older than the duo, rather than the reverse - I think I would have followed the group to the ends of the world had I found them as a teenager. I enjoy them that much - and its been a long while since I've been so blown away by a "rock" group. (Smashing Pumpkins'Mellon Collie and the Infinite Sadness in the mid '90s came close.)

It became quickly aparent that I must get tickets to The Onion Cellar to see if the group holds up live. And I was fascinated by the concept - a punk cabaret show based on the Onion Cellar chapter of Gunter Grass' novel The Tin Drum. Though I've never read The Tin Drum, it is my understanding that the Onion Cellar was a place Germans would go after World War II to tell stories while cutting onions, forcing them to cry and purge their tears. An amazing concept - and Amanda Palmer, one half of The Dolls imagined a dark play that dealt with weighty issues of the Holocaust. It apparently was deemed too dark for ART and the concept was reworked into the final product by the show's director, Marcus Stern. The result was uneven, and rather timid for "experimental" theater.

The show attempts to weave together several stories, very intimate and personal stories, of challenged, awkward relationships. A father coming to terms with his daughters death, a daughter he had not spoken to for some time. A budding relationship between a bartender and a woman who lives her life in a bear suit, collecting tragic memorabilia that tells real life stories (the set included a wall full of letters and memories mailed in by Dresden fans - what could have been a better source for story material), and unable to express her love for the bartender. An MC who tells the story of his father berating him and abusing him over the fact that he cried as a child, and boys don't cry. And the story of "Onion Boy" and "Mute Girl", which involved a lot of dance and a fair amount of licking each other. And more - so much that none of it seemed meaningful. In fact, it often came off as glorified acting class.

Particularly dissapointing was the ranting of an actor in a suit, wrapped in tape, with a telephone jack and cord taped to his forehead. The gentleman seems an able actor, but he seemed to take the opportunity to trash talk President Bush, who at the moment is an easy target (rightfully so), and the rant seemed cheap and superfluous - though appreciated by much of the audience, reflecting America's general distaste for the current administration. The problem was that it wasn't politcal satire, or reflective, or even educational. Just mean-spirited.

The same actor, however, gave a touching performance of the husband half of a couple from Wisconsin, "randomly chosen from the audience" (read: plants - very corny!) who gave reflection on the performance onstage as they sat at the bar. Eventually, their backstory comes out - and unfortunately, it is as cliche as the rest of the show. Couple unable to have children. And the midwestern couple becomes just another caricature of what educated northeasterners think of their midwestern countrymen. Another blown opportunity.

Now for the good. The Dresden Dolls shined through all of this. Amanda's voice was going, most likely due to the vocal demands of performing 40 shows in a month. But Brian Viglione's playing - both drums and guitar - was in top form. I'm guessing here because I've never seen them before, but my impression was that Amanda was exhausted, but made the most of the situation. She seemed to soak in the final night atmosphere. Connecting with her audience and in constant communication with Brian. They think as one, make music as one, which is the ultimate goal of all ensembles.

The evening's set included (not in this order) Necessary Evil, Good Day, Coin-Operated Boy, Delilah, Half Jack, a beautiful song that was new to me, which I guess was called The Gardener, and Sing which closed the show and is their best known song. Two encores, Mein Herr and Two Headed Boy by a band called Neutral Milk Hotel were highlights of the evening, as the cast was no longer on stage distracting the audience from the music. Another highlight was Brian's drum solo - in fact, he was THE highlight of the whole show.

So I left with mixed feelings. And looking forward to seeing the Dolls at some point in the future, away from the chains of a theater production. But I will have to wait. This was the end of the line for the duo. They have parted for the time being to pursue their own projects - a well deserved and hard earned break after nearly six straight years of touring. So unfortunately, my beginning with the Dolls comes at what could be their ending. Though I hope not. For when they decide to come together again, I'll be there. But until then, I'll have to follow their individul projects closely. They are each wonderful musicians, after all.

The Whatever Four at South Church

Yesterday The Whatever Four, a sax quartet in which I occasionally perform, ventured out into public to play two services at South Church.

I have a blast everytime I get together with my high school buddies Bryan (who is now on the PMAC board of directors) and Mike. Add Ginna to the mix and the Whatever Four Saxophone Quartet is born. Today's performances included Ulla in Africa, a Bach Fugue, two motets, an excerpt from MacDowell's A Deserted Farm, several hymns and more. Never underestimate the joy and power of making music with friends.

First Concert of 2007

One of my resolutions for 2007 is to blog about each concert I attend (#2007-16), so, to get things off on the right foot, I will now share my thoughts on my first concert of 2007, Countertenor James Bowman with the London Octave at St. Martin in the Fields, London, on Thurdsday, January 4, 2007, 7:30 p.m.

How could we visit London, even if only for 48 hours, and not seek out a musical event. Katie quickly discovered this concert at the concierge desk of our hotel, and we quickly committed to going to see our first ever concert in London, at St. Martin in the Fields Church, no less.

First, it is difficult to be objective about such an important event in our musical lives - our first London concert. History seeps from the walls of this church, and as an audience member, it is simultaneously glorious and intimidating. I found myself in awe of the situation.

We were at the end of our two week journey, the final night of our vacation, and on a limited budget, so we purchased the cheapest seats, restricted view, at 6 pounds apiece. We were there to hear the music after all, not specifically to watch the musicians.

This put us in the side balcony, in the third row, where you have an excellent view of the ceiling, and can see a quarter of the musicians and the soloist only when standing and leaning forward. It was an amazing experience nontheless.

The acoustics of the church are staggering. You could hear a whisper with wonderful clarity, and the "church effect" of lush sound was in full force. We sat awash in the sounds of Bach and Handel, often with eyes closed, fully experiencing the moment. This is what our travels are about, after all. Having experiences. And this one was a highlight of the London trip.

The concert opened with Handel's Arrival of the Queen of Sheba, which epitomized what we were in for - an evening of some of the best known (some might say "overplayed") Baroque music. Yet it seemed appropriate for the evening, and there is nothing quite like hearing this music live.

Other Baroque standards on the program included Bach's Air on a G String (one of the most amusing titles in the history of music), Handel's Overture from Messiah and Bach's Brandenburg Concerto No. 3. The London Octave is an impressive chamber group, and they provided astute performances, though I was not too overwhelmed by the situation to miss the tuning difficulties in the violins. And as a group that works without a conductor, there were rare but noticable disagreements on tempos between the players, though they were quickly resolved.

But the highlight of the evening was the guest soloist, countertenor James Bowman. For those who have not heard a countertenor, he is the highest of the adult male voice ranges in classical music (other than the legendary castrotti, which have been outlawed for a century based on human rights violations of children). It is amazing to hear a man with such a range and the repertoire was remarkable, including the Bach Cantata "Wiederstehe doch der Suende" and several Handel arias (Handel was one of the most prolific opera composers of his time). He was quite phenomenal, very musical, and in complete control of the orchestra (with the exception of one minor difference of opinion on tempo between two violinists). I'm going to have to seek out some of Mr. Bowman's recordings - though I'm not a huge fan of recorded Baroque music. I much prefer to hear it live, as something is lost in the translation to recording. (As is the case with most classical music, in my opinion.)

What a way to start a new year of concert going! We enjoyed ourselves thoroughly, and were grateful for the opportunity to hear this beautiful repertoire in such a majestic setting. If this is an omen of the coming year's concerts, it should be a great year.

Portsmouth Holiday Parade

For the third year in a row, the PMAC New Horizons Band entered a float in the Portsmouth Holiday Parade, and the bar was once again raised...

Let me first say that I really enjoy participating in the Portsmouth Holiday Parade. And this year the weather was such that we had some of the largest crowds we've ever seen. The members of the New Horizons Band and Wind Ensemble did a wonderful job performing on the float, and the float itself was nicer than it has ever been, much thanks to Aimee, one of our clarinetists who went above and beyond to decorate the float!

Aimee created five large candles and eight pairs of carolers for the float - with plywood and wonderful painting. That combined with the continued hard work of Dick (drums) and Jim (tuba) to create a safe railing around the large truck while overseeing the engineering of the float, made for a successful float and parade. Many volunteers came to our aid in making the parade float possible, and it is because of such community efforts that PMAC continues to thrive.

Our holiday selection for this parade was "Deck the Halls", which we must have performed 20 times over course of the parade. The only down side to the event was the unfortunate accident on a float in front of us, when a young child fell from the float and was seriously injured. But Portsmouth's rescue teams were on the spot quickly and we all hope for a quick and full recovery for the young boy.

This parade is just one of many events the New Horizons Band participates in each year. I can't say enough how wonderful this group of adult student musicians is, and what a life-changing experience participation in the program is (both for the students and the teachers!). Remember, this program is an open to any adult - whether you've played music before or not. We'll have you up and playing in no time!

So a great big thanks to everyone who made the 2006 parade such a big success. Thanks to Ricci Lumber for donating the truck and driver (thanks Bruce!). And thanks to Woodcraft of Newington for donating cutting services to create the carolers and candles for the parade. And thanks to everyone - I'm sure things are slipping my mind and I'm unitentionally leaving someone out. The day was a hit!

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ADDED LATER:
Sadly, I just learned that the 9 year old boy who fell from the float in yesterdays parade did not survive. Unfortunatley he suffered severe trauma when he was run over by the truck he fell from. My sincerest condolences go out to his family and loved ones.

Revenge of the Blog

All right, all right...I already have an entry titled "Return of the Blog", and then I quickly got too busy (read LAME) to write. So here is another, long awaited entry, an attempt to get everyone up to date...


It's been a busy year here at PMAC. We are growing like crazy...so much that we've begun to look into a new building. We even have a new building committee that has been hard at work for about nine months. You'll hear more on this soon!


On the entertainment front, it has been a concert going year for Katie and I. Everytime I'm out at a concert, I want to blog about immediately...but unfortunately that urgency is quickly replaced with a need to keep up with the busy-ness of running an arts school. I could say I'll be better in the future, but I've said it before and you've seen what happens.


There are a few highlights from the past year's concert events. We discovered Brandy Carlisle at the first of two Jamie Cullum concerts we went to. She opened for him at the Opera House in Boston. Katie picked up her CD that night and we were instant fans. You should check her out - and not judge her by the fact that her big break was on the soundtrack of "Sisterhood of the Traveling Pants."


Another highlight was Neenna Freelon at the Music Hall. Wow. And through our partnership with the Music Hall, she gave a clinic at Portsmouth High School. It was a great event.
More recently, we saw Bruce Hornsby at the Music Hall. Not really my cup of tea, but enjoyable nonetheless. Three of our students got to visit with him backstage after the show. (See picture below) He has the aloof demeanor you might expect of a musician who's spent too much time in LA.

Other concerts include New Hampshire Symphony Orchestra (for which I am now serving on an education committee), Portsmouth Symphony, Seu Jorge (WOW! What a show!), and so much more that is escaping my mind at the moment. Some great, some o.k., nothing really unbearable.


So its been a good year. But I have a sneaking suspicion that 2007 will be the best ever. New things on the horizon for PMAC. But I shouldn't get ahead of myself. We still have a month of 2006 to go.

Kronos Plays the Music Hall

I've had to think for a few days about this posting. I am a fan of Kronos' work. They are a unique quartet. And they have probably done more for contemporary composers than any other string quartet in history. But I left last Wednesday's concert at the Music Hall less than enthusiastic.

I've seen Kronos in concert before. And this time they played with the same precision, the same attention to detail, but something lacked. I don't know if they need to get back into the swing of things following a two month hiatus or if the group let their frustration over current events overshadow their performance (on more than one occaision violinist David Harrington shared his dismay over the Alito confirmation hearings that were happening in Washington). This is a group whose political leanings are an important factor in their sound and success, whether you agree with them or not. They are a group of musicians who play with the angst of young rockers, idolizing Jimi Hendrix in their encores, and championing the environment in their commissions. Thus the energy and enthusiasm of the politically fervent is expected in their performances.

On this occaision the spark was often missing. That is not to say the concert was poor - they know their music and bring out each detail and nuance. But the exploding energy you expect from Kronos was still on hiatus.

I don't want to be a cynic about the concert. The Music Hall's Executive Director Patricia Lynch and Programming Director Therese LaGamma have done a superb job of bringing world-class ensembles to Portsmouth and this concert will long be remembered as daring programming for this relatively quiet seacoast community. Programming that I want to continue. Last year's Turtle Island and Regina Carter concerts, and the upcoming Maria Schneider Orchestra and Nnenna Freelon "Blueprint of a Lady" are among the best of what they've accomplished in their short tenure. Add the Writers on a New England Stage Series (that brought Doris Kearns Goodwin and Alan Alda to Portsmouth) and the Ray Lamontaigne and Shawn Colvin/John Hiatt concerts and the Music Hall is doing more for our cultural scene than ever.

So I don't want to be negative about the Kronos concert. I just have to realize that when a group of this stature comes to town, I get my expectations up, way up. And those expectations can't always be met. But even if it wasn't the mind-blowing, life-changing, motivating, beautiful concert I had hoped for, I am glad they were here, I am glad I was there, and I hope that the Music Hall continues to bring such wonderful performers to town.

Kronos is coming

The Kronos String Quartet is on their way to Portsmouth this winter and it is a concert not to miss.

I first saw Kronos live at Harvard University in 1989 or 90, at the annual Fromm Foundation concert. I still remember the program vividly (which is rarely the case fifteen years following a concert). It included a world premeire by Steve Mackey, John Zorn's Cat O' Nine Tails and Steve Reich's masterpiece Different Trains. I have not had the opportunity to hear the group live again since then, and now that they are on tap for the Music Hall's 2005-06 season, I can't wait to see/hear them again.

One of the most innovative ensembles in America, Kronos is a champion of new music, and is one of those rare gems that bridges the worlds of "pop" and "classical" without losing their integrity. Famous for their rendition of Jimi Hendrix's Purple Haze which they once used regularly as their encore (I don't know that they still do), I also heard them play Hendrix's Foxy Lady at that concert 15 years ago - an arrangement by Mackey, who had his work premiered that night.

Kronos is a group who brings wonderful energy to the stage, takes the leap that many are afraid to take. Their recordings are vast and eclectic. From playing tangos with Astor Piazzolla, to George Crumb's apocalyptic Black Angels to the minimalist works of Reich, Terry Riley, and lesser known Kevin Volans.

While it was great to see Turtle Island here this past spring, Kronos brings a whole new level of gravitas to the stage. I will be putting together a group to go see this concert. Let me know if you want to come along for the ride - I'll arrange the tickets at a group rate. They'll be here Wednesday, January 11, 2006 at 7:30 p.m. at the Music Hall.