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.

Shuffle - No. 2

Today 10 tunes, randomly selected from my library by my MP3 player. Only the second time I've done this and I get two songs off the same CD - TWICE! - in the shuffle. Shouldn't happen too often with 927 tracks currently in the library!

Stella by Starlight from Loved Ones by Branford and Ellis Marsalis

Infinite Sadness (Instrumental) from Rarities and B-Sides by The Smashing Pumpkins

Dear Old Stockholm from Impressions by John Coltrane

Three to Get Ready from Time by the Dave Brubeck Quartet

Wasting My Time from The White Stripes by The White Stripes

San Jose from Welcome to the Pleasure Dome by Frankie Goes to Hollywood

I Just Wasn't Made for These Times from Pet Sounds by The Beach Boys

A Globe of Frogs from Globe Frogs by Robyn Hitchcock & the Egyptians

Nancy (With the Laughing Face from Loved Ones by Branford and Ellis Marsalis

Obscured from Rarities and B-Sides by The Smashing Pumpkins

An Afternoon of Disc Golf

This afternoon, my two sons and I hit the disc golf course in Dover and had a great time. Before I get to the scoring, I have to say that it was my most consistant and probrably best round of my life. I was getting good distance on my drives and most of my shots were going where I intended. And the boys played wonderfully. Jake actually would have beat Max if he had been a little more patient with his close putts. He'll figure it out soon and I predict that Max will have a hard time keeping up with his little brother on the course. Heck, I'll have a hard time keeping up with both of them soon.

We had to start on the 4th hole because the bridge at the course had been knocked out in last week's storms (see photo below). We played holes 4 through 18 and then finished with the first three holes.

I drove from the blue T's (farthest from the hole) and the boys drove from the white T's, with the exception of the eighth hole, which they drove from the blue T and the 16th, where the blue and white are at the same spot. We all Tee'd off on the first hole from the white tee because the bridge, as I said, was washed out, preventing me from Teeing off from my usual spot. First a few pictures and then the scores.

Our Scores:

Hole Four Jake: 6, Max: 7, Dad: 4

Hole Five Jake: 5, Max: 6, Dad: 4

Hole Six Jake: 4, Max: 4, Dad: 4

Hole Seven Jake: 6, Max: 4, Dad: 4

Hole Eight Jake: 6, Max: 5, Dad: 4

Hole Nine Jake: 8, Max: 6, Dad: 4*

Hole Ten Jake: 7, Max: 6, Dad: 4

Hole Eleven Jake: 4, Max: 4, Dad: 6*

Hole Twelve Jake: 6, Max: 6, Dad: 3!

Hole Thirteen Jake: 8, Max: 8, Dad: 6

Hole Fourteen Jake: 4, Max: 4, Dad: 4

Hole Fifteen Jake: 3!, Max: 6, Dad: 4

Hole Sixteen Jake: 7, Max: 8, Dad: 4

Hole Seventeen Jake: 7, Max: 6, Dad: 6

Hole Eighteen Jake: 5, Max: 6, Dad: 4

Hole One Jake: 4, Max: 5, Dad: 4

Hole Two Jake: 7, Max: 5, Dad: 4

Hole Three Jake: 7, Max: 5, Dad: 6

Round Totals: Jake: 105, Max: 102, Dad: 80

My Lunch with Mitt Romney

Today I had lunch with Presidential candidate Mitt Romney. Of course there were 200 other guests at the lunch, but I had the privilege of sitting next to Mr. Romney. Did you know that he studied piano for six years as a child? Sang in his school glee club? Performed in school musicals? - The one he reminisced about in particular was Bye Bye Birdie.

This was a Rotary luncheon, and he spoke and answered questions about his politics. But in those few minutes before he got up to speak (I also introduced him to the audience - not because I'm a supporter, but because I chair the Rotary program committee) I asked him questions that I often ask Rotary guest speakers. "Do you play a musical instrument?" "Were the arts important to your family?" "What other creative activities do you pursue?" And what I discover time and time again is that people who are sucessful - regardless of their career or area of expertise - have studied arts at some point in their life. Whether a musical instrument, or acting in school plays, painting or dancing, there is some creative aspect to their education and life. And I heard Mr. Romney say what I often hear from adults throughout the community - that he loved playing when he was a kid and wished there was time to still play. So I told him the New Horizons Band story and that it is NEVER too late. That when he is ready, the piano will be waiting for him.

So without saying anything about his politics, I'll just finish by saying he is a very nice man. Very personable, and actually, not larger than life, like you so often get with public personalities. He had no difficulty reminiscing about his mother's involvement in the theater and their family's love for the arts. He stopped campaigning when I asked that question and answered it honestly. Though it wasn't a tough question - nothing to dodge.

So I'm again grateful to live in a part of the world where we all can participate in the process, and in a part of the U.S. where the process comes right to our doorstep. Only ten months until the primaries. I wonder who will visit next?

Shuffle - No. 1

People sometimes ask what I listen to. This morning I had my MP3 player play random tracks from my entire library. Here's what came up, the first ten tunes in the order they played. It was pretty cool, so I'll do a post like this from time to time - which is why I call this one "Shuffle - No. 1". Look for No. 2 soon.

Walking in Your Footsteps/Live in Atlanta from Live by The Police

Summertime from The Very Best of John Coltrane by John Coltrane

Woody and You from The Way Through by Donny McCaslin

Perfect (Perfecto Dub) from Rarities + B-Sides by The Smashing Pumpkins

Pequines E Pitbull from Carolina by Seu Jorge

Cherokee from Alone Together by Brad Mehldau, Lee Konitz, and Charlie Haden

Heaven or Las Vegas from Heaven or Las Vegas by The Cocteau Twins

When I Fall in Love from Steamin' by Miles Davis

Sloop John B from Pet Sounds by The Beach Boys

Birthday from Life's Too Good by The Sugarcubes (Bjork's early band)

Great weather means one thing...

...it's time to play more disc golf!

Over the past year I've become an avid disc golf player. And after playing on and off throughout the winter months, whenever warm enough weather appeared (over 30 degrees F.) and there was enough ground not covered by snow, the warm weather has returned and I'm hoping we've seen the last of the snow. That means returning to the course for regular games (at least once each week).

It took a lot of convincing for my friend Bryan, also a PMAC board member, to get me out on the course last year. But ever since that first round, I've been hooked. Earlier this month I took my two sons out for their first round and we had a great time. They've been begging to go back, and I'm planning on taking them this week. Below is a picture of Max driving off the eighth hole at the course I play in Dover. His brother Jake watches on and the white circle is the disc he has just launched.

On My ZEN Micro MP3 Player...

I'm currently listening to...
Canonball Adderly Something Else
Neutral Milk Hotel In the Aeroplane Over the Sea
Laurie Anderson Live in New York
Cocteau Twins Heaven or Las Vegas
Branford Marsalis Creation
Nirvana Nevermind

The 2007 Practice-a-thon Comes to an End

April is here, and the 2007 Practice-a-thon has come to an end. I've enjoyed watching the "stars" add up on the lobby chart and hope everyone had fun while building good practice habits!

The Practice-a-thon is an important annual event at PMAC, both for students and teachers. It gives us a fun opportunity to renew our commitment to music. Practicing on a daily basis can be one of the most challenging aspects of studying music - but it is also one of the most important. Each March, the Practice-a-thon give students and teachers the opportunity to experiment with different motivations and methods of practice. If we find ourselves in a rut, unable to pick up the instrument at home, sometimes there are creative ways to break out and move to the next level of musicality.

I hope that the Practice-a-thon accomplishes that and more.
Thank you to all who participated! It was another successful event and I look forward to many more in the future.

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.

Remembering Michael Brecker (1949-2007)

Yesterday the world lost a jazz great. Saxophonist Michael Brecker passed away following an extended illness. I never had the opportunity to hear him live (though I did see his brother, trumpeter Randy Brecker), but his performances were legendary. He made his mark on the jazz world and will be remembered through his recordings.

Jazz News: Sax Great Michael Brecker Dies

DO THE MATH: Michael Brecker

My Luggage is Finally Home

After nearly three weeks, I saw my suitcase for the first time since checking it as I departed Boston for the Qatar trip. It smells of smoke and gas fumes, but doesn't seem to be permanently damaged. I have my belongings back. And Katie finally got her Christmas gift, on January 12th!

A courier for British Airways called on Thursday night and said my suitcase would be delivered after midnight - is there a safe place it could be left? I had them leave it on the back porch, where I retrieved it the following morning at 6 a.m., wrapped in plastic. I love how they snuck in under the dark of night to leave it outside as I slept. Clever.

London Photos

I've been meaning to write about the London leg of our trip, but this week was a bit crazy. Nothing like jumping back into the fray. But we're all glad to be home and living the life we love. Here are some photos from our London excursion.

Big Ben with the London Eye in the distance.

The kids loved the double-decker buses.

On the day we arrived, one of our first stops was the Museum of Natural History. The boys wanted to go after seeing the movie, "Night in a Museum".

The dinosaur exhibit was a big hit with the kids. The lifesize anamatronic T-Rex was impressive.

Jake insisted on seeing the bug exhibit!

Here I am with a monkey sculpture. Katie makes fun of me because I always wanted a pet monkey as a kid. Don't all boys have that dream?

There were many street musicians in the London Underground. Here's a sax player we happened upon.

Katie was the driving force behind getting us to the Royal College of Music. Unfortunately they were closed for the break. The guard refused to let me in, even after I explained that I'm a famous American musician. (I don't think he thought it was funny.) Maybe next time.

On our second day we went sightseeing to Big Ben and Parliment.

And we checked out Westminster Abbey.

Jake saved his watermelon seeds from the breakfast buffet at the hotel and wanted to plant them in a park.

By next summer there should be watermelons growing behind Parliment!

We also visited the British Museum.

The ceiling design in the museum is stunning.

Here Max points out some hieroglyphics to his grandfather.

He pointed out the electric guitar with two amps carved into this 5,000 year old crypt.

Katie couldn't pass up this photo op.

And my very own hotel. We'll have to stay here next time.

After the museum it was off to Harrods for some shopping.

On our final day we rode the London Eye, a giant, enclosed ferris wheel that towers over the city.

Here the boys look down over the city.

And the whole family reflects on a wonderful trip as we ride the London Eye!

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.

Home

We've arrived back home from our fab vaca. I have many photos and stories to post about London - and I hope to get to that later today. For now I'm adjusting to the time change...

I've been up since about 2:30 a.m. - it's 4:30 a.m. now - and I've been listening to music. Max got a very cool book for Christmas: "1001 Albums You Must Hear Before You Die." It's amazing how many of these albums I know of, but have never heard. The list comes with its inherent problems - it is only representative of the opinions of the writers. But it has a lot of great music on it.

So I sit here in the early morning listening to several of the albums from the list that I have downloaded from Napster (I love my Napster To Go service!).

Here is what I find myself listening to this morning. I've begun with the first album listed from each decade - as good a place to start as any. The book covers 50 years, 1955-2005:

• 1955: In the Wee Small Hours - Frank Sinatra
  
• 1960: Joan Baez - Joan Baez
  
• 1970: Cosmo's Factory - Creedence Clearwater Revival
  
• 1980: Kings of the Wild Frontier - Adam and the Ants
  
• 1990: Heaven or Las Vegas - Cocteau Twins
  
• 2000: Lost Souls - Doves

This will be my playlist this week. I'll write about London a bit later. And hopefully I'll be back on local time soon!

How do you like my ghutrah? From my visit to Doha, Qatar in the Middle East. Picture taken on December 31, 2006.

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!

******************************************

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.

New Year's Resolutions

It's that time of year again - time to swear that once and for all you're going to do that thing you've been meaning to do...

I make resolutions every year. They vary from reasonable (switch to decaf coffee - #1995-6) to outrageous (I'll never go to Duncan Donuts again - #2001-17). This year I find my blog near the top of the list (#2006-12). Running a community arts school is pretty time-consuming. Yet it is the most fun I've ever had in my work life. And this will be the year that I find the time to do the things associated with my job that are the most fun - like writing in this blog.

Now, you may be saying to yourself, "But, Russ, seriously, you've had a tough go at keeping the blog entries consistent thus far." (My web guru Steve is chuckling aloud as he reads this.) I know, I know. But this time I have a PLAN. My new year's resolution #2006-1: use a computer day planning system (no, I will not reveal the planner of my choice). Now I have a repeat task each week to write in my blog. Wohoo! Now my computer can remember for me. Just as it will remind me to go to the gym (#2006-4), prepare extra-thoroughly for my April 1st recital (#2006-7), and to clean the fish tank on the last Sunday of each month (#2006-72). As you can see, the computer planner had to be #1 just because of the sheer number of resolutions I need to keep track of. (Oh, darn. Not ending sentences with the word "of" was #2006-46.)

So for the person who actually checks my blog from time to time, this resolution is for you. Thanks for being there. This year I'll be here once a week. At least until late January.

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.

Autumn is here

That special time of year in New England has arrived. Use it as motivation.

I am particularly fond of the fall. It is the time of year when I find myself most productive, and in many ways content. There are a few major factors I attribute this to:

1) I live in New England, where fall is a beautiful season of changing colors. We harvest apples, go on nature hikes and feel invigorated by the cooler weather. I've always found being active in the cooler autumn is much more plesant than during the sticky, hot summer.

2) The academic year begins in September, hitting full stride around October 1st. After a summer break, I am ready to set new goals and find this to be an extremely productive time of year.

3) As strange as it may seem to many musicians, I enjoyed my marching experience in my youth. (many older musicians look down on this sort of activity, unfortunately) I was a band kid and fall was always marching season. The memories of friendships built around this activity make fall a positive time of reminiscence.

Now that fall is here, I find myself setting new goals for the 05-06 school year. I hope you will do the same. It is a great time to recommit to lofty aspirations, especially creative endeavors. Get that musical instrument back out of its case and make some music. Pull out those watercolors and paint an autumn landscape. Sit down with your pencil, pen, typewriter or PC and finish that novel, write that poem, or chronicle your life. It is in these passions of creativity that we find satisfaction in life. Take the changing of season as an opportunity to reunite with your creative side. I'll be right there with you.

A Few Words About the Conservatory Program

There's a new program in town, with the daunting name "Conservatory." Don't be afraid...it's a good thing. And it may just be the program you've been looking for.

The PMAC faculty's biggest concern as we were developing the curriculum for our new Conservatory Program was the name. They are worried the "lofty" implications of the word conservatory will intimidate some students and their families, or lead them to believe that the program is not for them. In reality, we've designed the Conservatory Program to meet the needs of any student who has a sincere passion for music. We want the program to be inclusive, and any auditions that take place are for placement.

The concept is to offer an organized, well-rounded curriculum for students who have a desire to play in ensembles with others and who want to learn more about the music they play. There are three primary aspects to the curriculum:
Ensembles
Music Theory
Specialized Electives

Beginning October 22, 2005, students will be able to come to PMAC on Saturdays to play in ensembles and take music classes. This program goes beyond individual instruction, creating real life musical opportunities for young students. It promises to be a fun and exciting time for any aspiring young musician

Ensembles are the crux of the Conservatory Program. (Webster's Ninth New Collegiate Dictionary assures me that one definition of crux is "a main or central feature.") While individual instruction is an important aspect of a student's music education, playing music with others should be a goal of every musician, student or otherwise. The Conservatory Program provides students with the opportunity to play in ensembles. Whether duos, trios, quartets or larger groups, ensembles give students valuble musical experiences that can not be achieved when playing alone. The faculty will tailor ensembles to the abilities, goals, and needs of each participating student. Ensembles will perform at PMAC, in the community and at appropriate competitions and festivals such as New Hampshire's Solo and Ensemble Festival in February 2006.

Another important aspect of the new Conservatory curriculum is Music Theory. Students will be placed in theory classes based on their knowlege and abilities. Theory topics range from beginning reading and the understanding of scales and key signatures to composition of chorales in the style of Bach and complex sight-singing and dictation. The highest level of theory will be an AP Course that will prepare students for the Music AP test for college entry. While sometimes challenging, learing the basic fundamentals of music theory brings new understanding and interpretive skill to any performing musician.

Finally, students will have a variety of elective classes to choose from. They may participate in a composition seminar in which they learn about the music of contemporary composers and can share their original compositions with others. They can even hear their own music played by others. They can take an accompanying class and learn how to accompany other musicians at the piano. They can also take a class on improvisation to stretch their musical performance skills. These are just a few of the classes we intend to offer in this program.

Any student who loves playing music is welcome to join the program. It is not only for those who wish to pursue music as a career, though the program offers a lot to those with professional aspirations. If you believe your child might be interested in this program, call me at PMAC or e-mail me. I can answer any questions you may have in more detail. Just know that this program is inclusive. We hope that you will consider enrolling your child.

Return of the Blog

After a four month hiatus I'm baaaack.....

Yes, I've been on "blog vacation" for a third of a year. It has been incredibly busy and I finally realized what my friend Steve meant when he said, "You do realize a blog takes a lot of effort to maintain." If you know Steve, you realize I'm paraphrasing, but it gets the point across. A blog is a cool idea for a website, but it takes a bit of effort - and I'm back and ready to put forth that effort. So don't be shy - leave a comment or two. Go ahead, egg me on. Let's get this show on the road.

A Tribute to Diane McGee at the City Wide Concert

Dondero music teacher Diane McGee retires this spring, and the fourth and fifth graders (with a little help from some of Diane's former students) paid wonderful tribute to her in song.

The city wide concert for the Portsmouth Public Schools is a honored tradition. The elementary band and beginner string ensemble show off their newly aquired skills, a chorus from one of Portsmouth's three elementary schools is invited to perform, the intermediate string ensemble is featured, as well as the many high school performing groups - the percussion ensemble, jazz band, chorus, and concert band. The sheer number of participants in each group (all were quite large) is a testament to the excellent work our public school music teachers are doing.

It is a tradition at these concerts to recognize career milestones for our teachers, especially retirement. And with Diane McGee retiring in the coming weeks, the kids from Dondero pulled out all stops to honor their teacher. Wendell Purrington, with the help of Dondero's fourth and fifth grade teachers and Little Harbour Elementary School's music teacher Gina Brannigan, put together a farewell number for Mrs. McGee - "So Long, Farewell" from The Sound of Music. Joining the chorus were many of Mrs. McGee's former students, who now sing with the Middle School and High School choruses. It was a touching send off - there were few dry eyes in the house by the time the kids finished. And it was an honor that Mrs. McGee deserved - for she dedicated thirty years to the Portsmouth Public Schools, and has been a community leader on issues of education. Bravo to the kids of Dondero, and thank you Diane. I hope to see you often around town, but know that the students of Dondero will miss your daily presence, mentorship, and teaching. Be well.

Unconventional Recitals: A New PMAC Milestone

This week two unconventional recitals were held at PMAC for the first time. They were so successful, we look forward to adding them to our regular calendar of events.

On Thursday afternoon, the PMAC Rock and Blues Ensemble held their first performance. This young group was just finishing their first ten weeks of classes at PMAC with instructor Randy Browning, and their repertoire showcased all they were able to accomplish in that small amount of time, having only met for one hour each week. We look forward to seeing this group develop over time. Formal instruction is an unconventional way for kids to learn rock, but it does accelerate the process (as compared to garage jams) and provide them with valuable knowledge about equipment and teamwork.

And yesterday PMAC presented its first-ever guitar recital. Organized by Chris Weisman and Randy Browning, the students performed for family and friends alongside their teachers. Chris set the mood by bringing in lamps and turning off the flourescent lighting of our recital hall, and for the event Chris composed several pieces for his students to play as an ensemble. It was hugely successful and I can't wait to hear what he writes for the next one.

I was speaking to a guitar teacher at another school recently about these performances and I learned that these are unfortunately a rarity. At the school this other teacher teaches at, they've never had a guitar recital - in the fifteen years of the school's existence! In fact, he was surprised at the idea of a guitarist participating in a recital at all. I am very proud of the leadership our faculty shows when making such unconventional events a reality. It is a testament to their dedication and wonderful teaching skills. And yet another reason for guitarists of all ages to get involved with PMAC programs. Never have recitals been more fun!

No Spoiler Star Wars III Review

I don't want to spoil anything, so I will refer to all characters as XXX, all locations as YYY, and all events as ZZZ.

Being of the Star Wars generation, Katie and I went to see Episode III, Revenge of the Sith, on opening day. There is a lot of expectation surounding this film, as this is when George Lucas finally reveals how XXX finally becomes XXX. I guess I'll start with the visuals.

The computer animation folks at Industrial Light and Magic have once again raised the bar. I never knew YYY could look so realistic, quite beautiful. And XXX looked more alive than ever, especially when ZZZ. The ZZZ were more crowded than ever, and stunning in their detail. But there are problems. Like, I didn't follow how XXX could have ZZZ based on ZZZ and his relationship with XXX

UNNAMED ACTOR did a fabulous job as XXX. I was convinced of ZZZ. But ANOTHER UNNAMED ACTOR didn't come across as well on the screen. Unfortunate. But that is no reason to leave this installment out in the rain.

If you've seen the others, you know you must go see this last one. Trust me, when you see XXX at YYY with XXX during ZZZ, you might just be moved to tears.

New Horizons Band/Seacoast Wind Ensemble Concert a Success

Last night's combined concert with the New Horizons Band and Wind Ensemble and the Seacoast Wind Ensemble was a hit. I am very proud of the way the NHB players are developing their performance skills.

It is hard to believe that the New Horizons Band has only been in existence for two years. The group is close-knit and has learned to play together with wonderful precision. I'd have to say that last night's performance was our best yet. Bravo!

We have not performed often (I think this was our fourth truly public performance), but the players are gaining performance confidence just the same. And it was nice to perform on a stage, even if it was situated in a school caffeteria.

Congratulations to all of the performers. It was a rewarding experience, especially the opportunity to play two pieces in a large collaborative effort. It has me thinking about what is next. Maybe there's a community chorus out there that would like to do a combined concert. That would be fun.

Sting Rocks Manchester

For Mother's Day I took Katie to the Verizon Wireless Arena to see Sting, who she had always wanted to see in concert, but never had the opportunity. As members of the elder end of Generation X, The Police were a mainstay of our teen years, and this show was essentially The Police minus Andy Summers and Stewart Copeland - and Sting rocked the house. If there was ever an argument for a reunion tour, this was it.

While this was Katie's first Sting show, it was my fifth (solo shows in 1985, two in 1988, and the final performance of The Police at the 1986 Amnesty International Concert at the Meadowlands - since then they have only played five tunes tunes together during two occaisions: Sting's 1992 wedding and their 2003 induction into the Rock 'n Roll hall of Fame). My first Sting concert was a stop on the Dream of the Blue Turtles Tour promoting his first solo album. Twenty years later, his concert featured more Police tunes - in fact, more than half the music he performed was written before that concert in '85.

He burst out of the gate with Message in a Bottle, followed immediately by Demolition Man, and Spirits in the Material World - three all-time greats by The Police. His pared down band of two guitars and drums, with Sting playing bass the whole night (like in his Police days) was the perfect vehicle to capture the raw energy and drive of The Police. Other classics of the evening included four tracks from 1983's Synchronicity, The Police's final album: King of Pain, Synchronicity II, Invisible Sun (one of my favorite songs), and Every Breath You Take, which was one of three encores to his 80 minute set. At one point he got the whole audience singing Voices Inside My Head while he simultaneously sang When the World is Running Down, You Make the Best of What's Still Around. And his Police selections were rounded out by a personal favorite, Driven to Tears, a drawn out version of Roxanne (which regained some fame recently in the film Moulin Rouge), and the driving Next to You, dug from deep in the archives - it was the first song on The Police's debut album, Outlandos D'Amour.

Of course there were selections from his solo career as well. Much to my delight, he performed four song from Ten Summoner's Tales (in my opinion, his best solo album): Fields of Gold, If I Ever Lose My Faith In You, Heavy Cloud No Rain, and She's Too Good For Me. He answered the question of why, as an Englishman, he writes country songs (he apparently grew up watching Bonanza and Rawhide and playing cowboys and indians - He even played some of the Rawhide theme song for the audience on his bass) and sang two of his country tunes: I Hung My Head (which was recorded by Johnny Cash before his death) and Lithium Sunset, which was the final encore of the night and performed much more like a Police anthem than the country song, as it was originally recorded. Sting payed tribute to The Beatles with a thoughtful rendition of A Day in the Life, saying that if it wasn't for them, he wouldn't be where he is. Also included in the evening's fare was Why Should I Cry for You? and the lesser known End of the Game. Quite a set for the true Police and Sting fan, which we count ourselves among.

Even with the many great Police tunes featured on this concert, I was yearning for a dozen more. Remember, The Police only released five albums, but there are eight, yes EIGHT, Police Greatest Hits albums. That is how good they were. I can list many, many songs I missed hearing, and I do wish he played for at least another 30 minutes (make that 60), but that is for another time. For now, suffice to say, this concert was great.

Oh, and did I mention...We sat in the twelfth row, center!

The Value of Departmental Workshops

The week of departmental workshops has arrived. Half of those who are participating say "awsome!" The other half "why?" Here's why.

There are many reasons for our twice yearly departmental workshops. The first few that come to mind are:

Students get the opportunity to work with faculty members other than their teachers and teachers get to meet and work with all of the students in their department.

A mid-semester break from weekly individual instruction to interact with other students who play your instrument is a very good thing.

Workshops are often a great opportunity to get feedback on a piece you are working on outside of giving an actual public performance - feedback from teachers and peers.

It is the perfect opportunity for a teacher to present a topic they specialize in to all of the students, such as Chris Weisman's Blues Worshop this week.

Students are often inspired by the performances of their peers and teachers. In departmental workshops, students can hear others play (including teachers) and then immediately discuss the performance.

The instructors work hard to make every workshop a powerful educational experience for the students. One of the primary goals of the workshops is to help students build communication skills. Musicians (of ALL ages) need to be able to talk about the music they listen to, play, and write. Great discussions have formed during Departmental Workshops, discussions that go deep into the inner workings of the music being discussed. The importance of these discussions cannot be discounted.

One concern of parents is often the discrepencies between students' ages and ability levels. We address this in several ways. With piano, we do offer a workshop specifically for 5 to 7 year olds that is shorter (only one hour) and geared toward their stage of development. For students with more experience, we offer specialized workshops (such as the Blues Workshop mentioned above) to challenge them in specific areas of study. The topics for specialized workshops will change and be taught by different instructors each semester. But even with these offerings, most workshops will have a wide range of students. I view this as an opportunity for all involved. An opportunity for younger students to be motivated by the skills of the more experienced students. And an opportunity for the more experienced students to develop leadership skills and provide insight and advice to students who are new to their instrument.

We do realize, however, that it is difficult to hit a home run every time with every student. But that does not change my opinion that these workshops are critical to providing PMAC's students with a balanced and comprehensive education. Rest assured that the goal of each workshop is to leave each and every student with a better understanding of their craft.

The bottom line is that the entire PMAC faculty believes in the importance of these workshops. We've worked together to make them a meaningful experience for all and hope that each student brings an open mind and positive attitude to their workshop.

A Jazz Tribute by Turtle Island at the Music Hall

This evening's Turtle Island String Quartet concert at the Music Hall was not the eclectic mix of blues, rock, classical and jazz that one might expect, but a tribute to the great jazz masters - a tribute that proved their respect for an artform they so beautifully embrace.

From Dizzy Gillespie to Dave Brubeck, Billie Holliday to John Coltrane, Charles Mingus to Paquito D'Rivera, the Turtle Island String Quartet treated this evening's Music Hall audience to a retrospective of jazz greats. Opening with Dizzy's "A Night in Tunisia" the quartet displayed a remarkable synchronization of groove - the ablility to lock into the pulse with no rhythm section. Correction, TISQ is a rhythm section. Drumming the bodies of their fiddles, scratching syncopations with their bows to the strings on the bridge of their instruments, and creating orchestrations that number far more than their quartet. They are piano, bass, drums, guitar, saxophone, trumpet, auxiliary percussion, and string quartet simultaneously. A remarkable feat that looks effortless in their hands. They play together like a seasoned jazz quartet, smiling at their "inside jokes" and feeding off of each other's solos. You can see the delight in their faces when they are surprised by one another, continually reinventing the forms they play.

The entire evening was a series of highlights. Dave Brubeck's "Blue Rondo a la Turk" had fire and intensity reminiscent of Brubeck's quartet. Violist Mads Tolling played the role of Paul Desmond with gritty intensity. Charles Mingus' "Fables of Faubus" was performed with the dignity and respect it deserved. And their arrangement of John Coltrane's "Naima" was hauntingly beautiful.

Original works by TISQ performers included a movement from David Balakrishnan's "Garden of False Delights" titled "Snakes and Ladders," and Mark Summers solo cello work "Julie-O," which was beautifully delicate with the New Age leanings you would expect from a former Windham Hill artist (TISQ recorded for Windham Hill in their early years). Summers' virtuosity shined through each piece, but was of particular note in this loving caprice for his sister.

While they are a unified front, playing and blending together as if one magnificent instrument, each soloist is distinctive in his style, voice. The delicate subdued nature of Balakrishnan balances the intense Neo-Bop solos of violinist Evan Price (who often sounded as if posessed by Charlie Parker). The joyful exuberance of Summers balanced by the darker, driving force of Tolling, who was the most adventerous of all, weaving in and out of the changes.

Much of the fun in listening to these players solo is in hearing the creative ways they bring their classical roots into their adopted jazz repertoire. Quotations abound, including references to Prokofiev ("Peter and the Wolf") and Gershwin ("An American in Paris"). But the true connection to classical quartet playing is the repect they give to the music. TISQ has grown up. Once known for kicking over chairs and music stands while growling out Jimi Hendrix, they now aspire to the dignified nature of Duke Ellington. And it works.

The Music Hall rafters were haunted by the souls of jazz tonight. Oliver Nelson, Miles Davis, John Coltrane, Billie Holiday, Duke Ellington - they were all there. And TISQ was yet another homerun in programming for the Music Hall, which in the past two years has included jazz greats Wynton Marsalis, Cedar Walton, James Walker, Regina Carter, Cassandra Wilson, Randy Brecker, James Moody, Howard Alden, Lewis Nash, and Peter Washington. Rumor has it, this trend will continue into next season - and hopefully for many seasons to come.

TISQ gives insight into their music at Music Hall/PMAC Clinic

The Turtle Island String Quartet, known throughout the world for their unconventional repertoire, gave an insightful clinic to a group of PMAC students today. It was a remarkable experience for all who attended.

It is unfortunately a rare event when a group of community music students can sit down with a famous ensemble and discuss music. But the Music Hall and PMAC are working to make such events more common here in Portsmouth. Organized by the Music Hall's Therese Lagamme, the TISQ gave a one-hour clinic to a group of PMAC students on the Music Hall stage today at 11 a.m. (see pictures below) The quartet, led by violinist and founder David Balakrishnan, played several selections from their eclectic repertoire including Charlie Parker's "Billie's Bounce" and the Tower of Power's "Who do you think we are?" Even a little Beethoven. They shared their insights regarding jazz on string instruments, swing and "classical" rhythms, improvisation, and told some stories from their 20 year history.

One of the great moments of the clinic was when violinist Evan Price demonstrated many of his extended playing techniques, such as playing the violin like "bongos", or a "banjo," or even getting the sound of "brushes on a snare drum" by bowing the wooden side of his violin. Cellist Mark Summer shared stories from his 20 years in the group and showed the students how a cello can be played like a jazz bass. And violist Mads Tolling discussed pizzacato technique with a New Horizons String Ensemble violinist. All four made the experience a powerful one for PMAC's students.

If you were unable to attend, you can come to future PMAC events, such as our May 22nd clinic with Boston composer and saxophonist Joe Maneri. These clinics are wonderful experiences for all and remind us of the communicative power of music.

Jellyfish at the New England Aquarium

I am regularly told that I do not take enough time off to relax with my family. Here is photographic proof that I did get away (however breifly) during the April break. I took these photos during a visit to the New England Aquarium this week. My two sons were most excited to see the sharks, penguins, and sea turtles, but I enjoyed the special jellyfish exhibit. If you can get down to Boston for the exhibit, it's "fun for the whole family." We also went to see "Aliens of the Deep" at the Aquarium's IMAX Theater. It's James Camerons amazing film on creatures of the deep ocean. It's rated G, educational, and it's in 3-D!

Memories in Movement

My vacation has brought me to Connecticut where my family and I went to see the Stop/Time Dance Theater's production "Remember When..." We all had a great time and I came to the realization that I rarely get out to local dance productions - something I can easily remedy.

I've not been one to actively seek out dance performances to attend, yet every time I'm out to see a dance production, I leave thinking the same thing: I need to do this more often. In Portsmouth there is Drika Overton and her wonderful production company. I'm a fan of "Clara's Dream", which will unfortunately be on hiatus this coming holiday season. Another tap giant of the seacoast, Dean Diggins, will be receiving the prestigeous Tapestry lifetime acheivement award next month. But beyond these two local legends and the local ballet schools, I'm not quite sure what get out and see. There are always the traveling shows that come through the Music Hall, but who should I seek out in the local scene?

First, know that there is a background story to why I attended yesterday's Stop/Time Dance Theater production. A close friend going back to high school, who now lives in Connecticut, was the lighting designer for this production. We're currently visiting him and his family (our kids are on school vacation). We took the whole family to the show and the kids loved it. It is best described as a collection of "memories" set to dance. Memories of Catholic school predominated, along with a fixation on shoes and hair (a dancer thing?) and not fitting in with the "cool" or "rough" crowd. The dancers were excellent, the choreography varied and creative, and the production values top notch (although I admit to personal bias). Things I found strange: the insistance of the director to have the dancers lip synch to the music, and the presence of two numbers that were actually sung by dancers (while their voices are well trained, I don't envision any of them heading for Broadway on their singing talent). The dancers seemed slightly distracted by having to remember and synchronize each word. I would have much rather seen them go deeper into the dance without such worries. BUT THIS IS A MINOR COMPLAINT, REALLY. The show was fun and the kids danced their way back to the car.

The 19 music numbers they set were an eclectic mix of such pop favorites as "Goody Two Shoes," "Only the Good Die Young," "It's Raining on Prom Night," and "Bye bye Life" (Ben Vareen and Roy Scheider's rendition of the Everly Brother's "Bye bye Love" as it appeared in Bob Fosse's film "All That Jazz."). The program was the usual mix of ensemble numbers and solo or featured dancer pieces. Four talented young dancers stood out from the crowd: Tiana Mancuso (notably in "All Through the Night"), Tricia Raymond ("Bad Girls" was as bad - in the good way - as it needed to be!), Shari Lynn Boyaji (who kept her composure even though one of her shoe straps broke in the first 30 seconds of "In These Shoes" and effortlessly conveyed the seductivity of the song), and Tyler Knowlin (a talented young tap artist whose a capella performance was reminiscent of the work of Savion Glover). All four proved that community dance productions can be every bit as compelling, enthralling and entertaining as their professional cousins.

So now I wonder where my next dance adventure should be. The Portsmouth Percussive Dance Festival is coming up. That's a given. But what else is out there?

Check out their website: www.stoptimedance.com

The Turtle Island String Quartet is coming to the Music Hall

San Francisco's Turtle Island String Quartet will perform in Portsmouth on Saturday, April 30th and the Music Hall is offering PMAC students and their families tickets for only $10 each.

This is a great opportunity for music lovers to hear a unique ensemble that melds the worlds of classical, jazz, blues and pop. Additionally, PMAC students (and their families) who purchase tickets are eligible to attend a free clinic with the quartet on the Music Hall stage at 11 a.m. on the day of the concert. This is a great opportunity, so be sure to contact the PMAC office to reserve a spot in advance - seating is limited.


The TISQ has recorded on such prestigeous labels as Windham Hill and Koch. Cellist Yo-Yo Ma described them as “a unified voice that truly breaks new ground – authentic and passionate – a reflection of some of the most creative music-making today.” Be sure to catch this group as they make a rare New England appearance.

The Portsmouth Men's Chorus at the Music Hall

Last night I attended the Portsmouth Men's Chorus' fifth anniversary concert at the Music Hall. It was a joyous occasion for the group, and they deserve credit for reaching the five-year mark, an important milestone for any organization.

Founder Terrie Harman, who is also the chorus’ accompanist, welcomed the audience and introduced us to Karl Compton, the man who inspired her to form the chorus. Melinda Kimball, the chorus’ first conductor, was on hand as well, performing on clarinet with the chorus for the opening piece, “How Can I Keep From Singing.” She was one of many instrumentalists enlisted to perform with the chorus by director Daryl Robertson. Others included bassist Sharon Demeritt (who I’ve performed with on occasion for more than twenty years and was the bassist on my first studio recording in 1985!), drummer Ken Clark (who played percussion along with Daryl Robertson for the premiere of my choral work “Celebrations and Remembrance” in 2000), oboist Laura Lammi, and a few young instrumentalists most likely recruited from the talented ranks at St. Thomas Aquinas High School, where Daryl Robertson is the music teacher.

The program was an eclectic mix of favorites from the Chorus’ first five seasons, with two new works added to the mix. The first of the new works was composed by PMAC faculty member Catherine York Knowlton, a setting of former Portsmouth Poet Laureate John Perrault’s “Ripples First.” Commissioned by Terrie Harman and Tom McCarron, the chorus approached the piece with the serious air every premiere deserves. I applaud the group for commissioning a local composer, all too rare an occurrence with community music ensembles. I believe all community music groups should try to commission a new work by a local composer each and every season. This premiere was a success and I would like to hear others in the future.

In addition to Catherine’s piece, my other favorite on the program was excerpts from Randall Thompson’s “The Testament of Freedom”. My wife, Katie, preferred “The Beatles Review” commenting that we do not own enough Beatles albums in our CD collection. I also had fun trying to sing along to selections from “The Sound of Music,” though I found the range to be too high for my limited bass. And there was much laughter from the audience (which was encouraged) during the second premiere of the evening, an arrangement by Daryl Robertson titled "Five Years in About Five Minutes" that chronicled many favorites of the group's first five years in a jam-packed medley.

I came away from the evening with an appreciation for mission of the Portsmouth Men’s Chorus (“to foster community spirit through singing.”) The chorus numbered approximately 35 for this performance, though there were a few regulars regrettably unable to perform at this event. It is the perfect opportunity for men in the community who find joy in singing. I can think of at least three singers I’ll see this week that I’m going to encourage to join. And maybe that is the best message I can convey with this posting. Men of the seacoast, if you sing, join the Portsmouth Men’s Chorus. (No audition is required!) It is an opportunity well worth your time and I can tell you that they have fun with their repertoire. And it is one of the few opportunities you may have to sing from the bottom of your heart to an audience of hundreds at the historic Music Hall. Bravo!