Monday, December 28, 2009
Tuesday, December 22, 2009
Monday, December 21, 2009
Sunday, December 13, 2009
Once again, the The Musical Box blog is essential reading. This time around, a review of Saturday night's Dave Rempis and Frank Rosaly performance in Lexington. As Penny points out in her excellent post on this blog (see below), those of us who were lucky enough to have been at Friday's Thomas More workshop with Rempis and Rosaly witnessed something similar.
Friday, December 11, 2009
Dave Rempis and Frank Rosaly are visiting Thomas More this evening for a performance/workshop on free improvisation. There is a nice article about them on The Musical Box. Please have a look, and stop by tonight if you are free and looking for some exciting music and discussion.
Saturday, December 5, 2009
Thursday, December 3, 2009
Monday, November 30, 2009
Thursday, November 26, 2009
Rosaly’s drumming is easily recognizable, on record and live . It melts between the perfect complimentary player and the ultimate standout. His rhythms are unstoppable and perfectly timed. His solos are imaginative and expressive. --Adam Kivel, Consequence of Sound
Over the last decade, Dave Rempis has emerged as one of the most active
young players in the Chicago jazz and improvised music scene. Rempis
graduated from Northwestern University in 1997 with a degree in anthropology,
focusing in ethnomusicololgy, and a year spent at the University of Ghana, Legon
in 1995-96. Since 1998, his work with the Vandermark Five as the "other"
saxophonist has established him as one of the up-and-coming voices of his
generation, and has also provided him the opportunity to perform extensively in
clubs, concert halls, and festivals throughout the U.S., Canada, and Europe. His
own groups, including the Rempis Percussion Quartet, Triage, The Engines, The
Rempis/Daisy Duo, and The Dave Rempis Quartet, have toured regularly
throughout Europe and North America, and have been documented on the
Okkadisk, 482 Music, Solitaire, Utech, and Not Two record labels. In addition to
these groups, Rempis plays regularly with Ken Vandermark's Territory Band, The
Ingebrigt Haker-Flaten Quintet, The Outskirts, and the Rempis/Bishop/
Kessler/Zerang Quartet. His frequent ad hoc collaborations have included
performances with Paul Lytton, Axel Doerner, Peter Brotzmann, Hamid Drake,
Kevin Drumm, Paul Nilsson-Love, Tony Buck, David Stackenas, and Joe Morris.
As a founding member of the Chicago presenters' collective Umbrella Music,
Rempis curates a weekly concert series at Elastic, as well as the annual Umbrella
Music Festival, now in its fourth year. Rempis has also been named as a Talent
Deserving Wider Recognition in both the alto and baritone saxophone categories
in the annual Downbeat Magazine International Critics’ Poll.
Frank Rosaly is a percussionist and composer currently living in Chicago. Over
the last 10 years he has become an integral part of the Chicago scene,
navigating a fine line between the vibrant improvised music, indie-rock,
experimental music, and jazz communities. He contributes much of his time to
performing, composing, teaching, and organizing musical events, while
managing a heavy touring schedule that takes him throughout North America
Frank is currently active in many different groups. Some of these include Rob
Mazurek’s Mandarin Movie, The Rempis Percussion Quartet, The Ingebrigt Haker-
Flaten Quintet, Jeff Parker/Nels Cline Quartet, Matana Robert's Chicago Project,
Fred Lonberg-Holm’s Valentine Trio, Keefe Jackson’s Fast Citizens, The Jeb
Bishop Trio, Jason Adasievicz’s Rolldown, Jorrit Dijkstra’s Flatlands Collective,
The Chicago Lucern Exchange, and The Daniel Levin Trio. Rosaly also leads his
own quintet, Viscous, featuring his original compositions. Other performances in
the recent past include collaborations with Peter Brotzmann, Tony Malaby,
Anthony Coleman, Paul Flaherty, Marshall Allen, Louis Moholo, Eric Boeren, Ken
Vandermark, Michael Zerang, and Walter Weirbos, among many others.
Wednesday, November 25, 2009
First off, by "authenticity" Davies means, specifically, musical performances as performances of a particular composition (this, in contrast to authentic with respect to a musical style, or genre). That is, authenticity of a performance as a member of the entire class of performances recognized as that same composition, or a group of ideal performances of that piece. In short, "authentic" is used to acknowledge the creative role of the performer in faithfully realizing the composer's specifications.
Definitions out of the way, Davies first addresses the importance of the recreation of sounds in an authentic performance, as opposed to the recreation of "milieu," as he calls it. When Tchaikovsky wrote Swan Lake, he was probably intending for the score to be played by musicians using the instruments of and in the conditions available at the time. Therefore a decidedly authentic performance would employ the these types of conditions, for example, use of the instruments contemporary to the period of composition, an ensemble the size of which the composer had specified, and stylistic interpretation of the score in light of the practices and conventions of the time it was written in. But all of this is aimed at the recreation of the sound that the composer intended and nothing else. The ambiance within which the piece would have been presented to the composer' s contemporaries is not necessary (which rids of the potential mutiny of the orchestra at the proposition that they don leggings and ruffs) and the authenticity of the piece performed within a concert hall in front of a large audience is the same as that of the piece performed within an eighteenth century salon.
This said, Davies notes that the acoustics of the place in which certain compositions are performed does make a difference, and so there are buildings more suitable for some compositions and not others. Playing Beethoven's fifth symphony in a garage will not be as authentic as it performance in a concert hall with acoustics modified to reflect those of a wood-paneled room in which Beethoven might have had it performed. BUT this isn't because of the fact that the performance is in a garage and not a concert hall, instead, it's because the performance in the garage sounds different than in the concert hall. No tights or ruffs necessary. And if you're performing modern music written for modern settings, well, many problems like this become non issues.
This emphasis on the recreation of sound established, Davies stresses that the authenticity of a performance is judged against an ideal performance of the composition, rather than any one definitive performance. The sound that the authentic performance aspires to create is the sound that is possible, rather than actual. The notes written in the score, the directions written by the composer all must be observed, but even when this direction is given, it isn't always straightforward as to which and how each note is to be played and/or modified. Thus, tendencies of the performers of the composition at one time need not be the same as those tendencies of a performance at another time for both to be considered authentic. Also, the sounds sought to be faithfully reproduced need not be identical to those sounds produced at any one performance. Yes, a CD and a live performance of the same piece are allowed to sound different and both are equally authentic. Vivaldi, as played by an orchestra in Nebraska, is allowed to be different and yet is considered just as authentic as Vivaldi played by the symphony in New York.
Finally, Davies talks about the role that the composer's intentions play in the creation of an authentic performance. Long story short, he says that only those intentions which are normally accepted as definitive byt the conventions in which musical scores are read are relevant to judgements of authenticity. Translation: any other intentions that the composer might have had can be completely and totally ignored -and the piece is still in the running for being called authentic. Mwwa ha ha ha ha ha!!! And I have to agree with Davies on this point. The experience of the composer in creating music is different than that of the performer's creating music and though the composer may have written a piece with a certain intention, once that score is down on paper, it takes on an identity of its own. That's the great thing (and perhaps frustrating thing) about art. Once it's out there, it's still credited to the artist, but the world can interpret the work however it so chooses.
So, I think Davies explains the authenticity of a musical performance much the way a professor might consider a history paper. The author has to have the facts right, has to stay within the parameters of what is accepted as non-fiction, but once those bases are covered, he or she is given license to deduce from the facts whatever they want -and it's still an acceptable research paper.
Friday, November 20, 2009
Wednesday, November 18, 2009
Klang played in Lexington last night. Apparently, the band is equally comfortable in the soundworlds of Jimmy Giuffre, Benny Goodman, and, of course, John Cage. See the excellent music blog The Musical Box for a review. I hope to see everyone at the show tonight. It should be fun, and a nice chance for a Cage class reunion.