I have been thinking about transgression since seeing Trey Anastasio's induction speech of Genesis into the Rock and Roll Hall of Fame last week. He gave some great examples of the wonderful transgressions that Genesis committed over the years (a hit single "Turn It On Again" written in 13/4 time for example). Berlioz was also a great transgressor. He was self taught. That must be why he really doesn't sound like anyone else except himself. He wrote strange large scale pieces that did not fit conventional categories. Even his most famous piece, the Symphonie Fantastique is not a conventional symphony with it's programatic story of unrequited love, drug overdoses and a witches' sabbath. The piece played at this concert is Harold in Italy. A typically atypical Berlioz piece. Commissioned to write a Viola Concerto by Paganini, Berlioz writes this not-a-concerto, sort-of-symphony with solo viola parts that clearly would not satisfy the notoriously show boating Paganini.
What makes this a great rather than just a good story is that after Paganini refused to play the piece because it was not virtuoso enough, he heard it performed. He then sent Berlioz 20,000 francs because he was so impressed. And now, 176 years after it was written, this strange piece is still being played in Pittsburgh, PA. Randolph Kelly, the long-time Pittsburgh Symphony principal violist, played the solo part. A solo piece that does not call for virtuosity presents it's own issues for a soloist. Kelly stayed within the piece quite well with excellent accompaniment from Yan-Pascal Tortelier and the orchestra. The delicate harp part in the first movement was quite beautiful and the big climaxes quite satisfying. The two inner movements, smaller in scale, set up the finale. I particularly enjoyed the third movement's bouncy folk tunes and great English horn part. The finale was properly dramatic (is properly really the right word there?) and a bit out of control, as Berlioz should be.
The second piece of this two piece program was Gustav Holst's The Planets. Here I have to admit that I had let myself get a skewed idea about Holst. Too many sci-fi movies and I started thinking about Holst in terms of the many film composers that stole from him, sometimes so directly that it realy is just a quote. The Planets is no longer under copyright law. I did find myself noting during the performance places where I have heard Holst ripped off. I have to credit my friend Marcus for getting me to this show, based on his unreserved love of Holst's piece.
Somehow I had gotten it in my head that Holst had written this much later than he had. This seems to fit into my denigrating of the piece. Realizing this was written from 1914-1916 puts it in a different perspective. English classical music was just emerging from obscurity with Elgar and Vaughn Williams leading the way. Those two used much more conventional and familiar forms, symphonies, concertos etc... In this way, Holst seems much like Berlioz in the choices of the forms used in his composing.
But how was the performance? Quite brilliant. Mars, the bringer of war was intense and built to an overwhelming climax. But Holst's Planets are more than just loud climaxes, as Bill Cabalero showed with his beautiful and restrained horn solos to start the Venus section. Yan-Pascal's conducting and the orchestra's playing highlighted the great variety in the seven movements (Holst left out the Earth and now that Pluto isn't a planet anymore, he's no longer behind the times). Individual members of the PSO stood out throughout the piece. Andres Cardenes was beautiful in the solo violin parts. I did find myself flashing in my brain to movie and TV (mostly sc-fi) composers that have borrowed or outright stole from Gustav.
Other highlights included the entire brass section in Jupiter, loud, clear and brilliant. The old age portrayed in Saturn was not scary but gentle and rather comforting (perhaps wishful thinking back in 1916, though perhaps the war made old age particularly alluring). The harps and wordless chorus in Neptune the mystic were ethereal and appropriately mystical.
Another great show for the PSO. Renewing my acquaintance with this piece that I had ignored for so long was quite a treat.
Wednesday, March 24, 2010
Saturday, March 6, 2010
Joshua Bell, Jeremy Denk - Tuesday March 2, 2010 - Heinz Hall - Pittsburgh, PA
I do not remember the last time I saw a violin recital in Pittsburgh. So it was quite a treat to see a great violinist right here in my hometown. Joshua Bell IS a great one and his partner for the evening seems worth getting to know as well. The vicissitudes of classical music collecting is such that a serious collector will get a recording of their favorite pieces, then another of the same piece for comparison as it is all about interpretation. Eventually you have multiple recordings of your favorites and it is hard for new artists to get your attention. Do I really want Josh Bell's Mendelssohn concerto when I have Heifetz, Menuhin, Perlman, Milstein, Ricci, Mutter and Hahn doing it? This is a long winded way of saying that a young violinist has to do something to get my attention in order to buy their recordings. You can do it with interesting couplings or new and unusual repertoire, but a new recording of the Mendelssohn and Bruch concertos is probably not ending up on my shelf. So I know Josh Bell through his recordings of Corigliano, Nicolas Maw, Walton and Barber. However, he has made his name in the standard repertoire and recordings of little tasty bits of violin music that go down easy or work well as background music.
I don't say these things as a put down, but to put his career choices in some context, particularly in reference to this recital. Here was a recital that says, we are doing some serious music tonight, four substantial pieces with a brief, light encore. I am curious about their decision to do this and quite happy that they did.
The time span of these pieces is about two hundred years. The oldest piece, Bach's 4th violin and keyboard sonata. I have to admit here that this is the only piece on the program I don't know (or own own a recording). The Bach violin and keyboard pieces just are not held in the same high regard as his solo violin sonatas and partitas. After hearing this piece, I can't say I am in any hurry to get into them. Perhaps it was the performance (and I did feel they were out of sync at times) or perhaps it is a rather slight piece of music but it (performance, piece or both) did not grab me. Grieg's Third violin Sonata did grab me. Grieg is known now for really just two things, his Peer Gynt music and his piano concerto. This piece is a late piece, substantial (over 20 minutes) and quite dramatic. Bell and Denk seemed to underline the drama in a major way. I felt at times that it might be too dramatic but that may be my familiarity with a less dramatic interpretation. I especially liked the first movements building to climaxes (which happens through the movement).
The second half opened with the Schumann first Violin Sonata. I haven;t listened to Schumann much lately and this reminded me that I do like his music. Despite Schumann's tragic mental health problems, his music has a pleasantness, lightness to it. Even this piece, which is a relatively late one has the Schumann lightness that I find so appealing. I enjoyed the interpretation, even more than the Grieg. This duo had an interesting stage presence. Bell, seemingly oblivious to all else (though I assume his ears were paying attention), stretching his body at times, his left foot flat but right one only touching the floor with his toe, as if reaching out for something. Denk was extremely vigilant and attentive, head cocked to watch Bell and stay in his groove with him.
Schumann's piece was written in 1851 and the Grieg in 1886. Despite the thirty five years difference, they definitely inhabit the same sound world, romantic, tonal, dissonances all resolved. Maurice Ravel's Violin and Piano Sonata was written in the 1920's. Forty years after Grieg, Ravel's piece, right from the outset, reveals itself as from a different sound world. In form, it shares the conventional three movement structure with the Schumann and Grieg. One difference that comes to mind for me is that the Ravel is not so clearly on it's way somewhere. It does not seem quite so linear. While not all Ravel is this way, the Violin Sonata has a somewhat disturbing quality that I love in my favorite Ravel music (Bolero and La Valse come to mind, though with less subtlety). The opening movement's moments of simple beauty punctuated with little dissonances and perturbations. The flow and interplay between Bell and Denk was well done. The middle "Blues" movement had some nice swing to it. Again, the lightness mixed with little disturbances captured well by this duo. The last movement is one of those in which the violin gets moving and doesn't really slow down. In fact it is marked "Perpetuum Mobile: Allegro". The piano provides support but this is really the violin's show. Bell played this with seemingly no difficulties and a good bit of flair.
The encore was a slight but enjoyable Kreisler piece after the style of Dvorak. I assume it is one of the many pieces that Kreisler wrote but programed as if it had been written by Dvorak or whomever. I always chuckle that he apparently got away with this for quite a while.
i was not sure about this concert being held in Heinz Hall. It is a big place for a violin to project within. However, Joshua Bell's sound projected quite well to where I was sitting (front of the Family Circle upstairs). He has a big sound that is a must for this to work in Heinz Hall. The crowd was enthusiastic though I would estimate that the hall was only half full. I hope that was enough to have more of these kinds of shows. I don't know how the economics of this works.
In summary, great show by great musicians. A treat for me who loves violin music. The program was well chosen (minus the Bach). If I can indulge myself in one complaint, the program biographies bothered me. I realize that Josh Bell is the headliner and most people, even me who tries to keep up with classical music, don't know Jeremy Denk. However, do you really need to gush about the "breadth and daring choices of repertoire", then list standard repertoire, movie soundtracks, and crossover bits. Anne-Sophie Mutter, Jennifer Koh, Leila Josefowicz and Gidon Kremer are daring, Bell is not. He IS great at what he does. The list of things Jeremy Denk has done reveals that HE is the daring one, with lots of modern pieces in his repertoire. I will be on the look out for some of his recordings.
I don't say these things as a put down, but to put his career choices in some context, particularly in reference to this recital. Here was a recital that says, we are doing some serious music tonight, four substantial pieces with a brief, light encore. I am curious about their decision to do this and quite happy that they did.
The time span of these pieces is about two hundred years. The oldest piece, Bach's 4th violin and keyboard sonata. I have to admit here that this is the only piece on the program I don't know (or own own a recording). The Bach violin and keyboard pieces just are not held in the same high regard as his solo violin sonatas and partitas. After hearing this piece, I can't say I am in any hurry to get into them. Perhaps it was the performance (and I did feel they were out of sync at times) or perhaps it is a rather slight piece of music but it (performance, piece or both) did not grab me. Grieg's Third violin Sonata did grab me. Grieg is known now for really just two things, his Peer Gynt music and his piano concerto. This piece is a late piece, substantial (over 20 minutes) and quite dramatic. Bell and Denk seemed to underline the drama in a major way. I felt at times that it might be too dramatic but that may be my familiarity with a less dramatic interpretation. I especially liked the first movements building to climaxes (which happens through the movement).
The second half opened with the Schumann first Violin Sonata. I haven;t listened to Schumann much lately and this reminded me that I do like his music. Despite Schumann's tragic mental health problems, his music has a pleasantness, lightness to it. Even this piece, which is a relatively late one has the Schumann lightness that I find so appealing. I enjoyed the interpretation, even more than the Grieg. This duo had an interesting stage presence. Bell, seemingly oblivious to all else (though I assume his ears were paying attention), stretching his body at times, his left foot flat but right one only touching the floor with his toe, as if reaching out for something. Denk was extremely vigilant and attentive, head cocked to watch Bell and stay in his groove with him.
Schumann's piece was written in 1851 and the Grieg in 1886. Despite the thirty five years difference, they definitely inhabit the same sound world, romantic, tonal, dissonances all resolved. Maurice Ravel's Violin and Piano Sonata was written in the 1920's. Forty years after Grieg, Ravel's piece, right from the outset, reveals itself as from a different sound world. In form, it shares the conventional three movement structure with the Schumann and Grieg. One difference that comes to mind for me is that the Ravel is not so clearly on it's way somewhere. It does not seem quite so linear. While not all Ravel is this way, the Violin Sonata has a somewhat disturbing quality that I love in my favorite Ravel music (Bolero and La Valse come to mind, though with less subtlety). The opening movement's moments of simple beauty punctuated with little dissonances and perturbations. The flow and interplay between Bell and Denk was well done. The middle "Blues" movement had some nice swing to it. Again, the lightness mixed with little disturbances captured well by this duo. The last movement is one of those in which the violin gets moving and doesn't really slow down. In fact it is marked "Perpetuum Mobile: Allegro". The piano provides support but this is really the violin's show. Bell played this with seemingly no difficulties and a good bit of flair.
The encore was a slight but enjoyable Kreisler piece after the style of Dvorak. I assume it is one of the many pieces that Kreisler wrote but programed as if it had been written by Dvorak or whomever. I always chuckle that he apparently got away with this for quite a while.
i was not sure about this concert being held in Heinz Hall. It is a big place for a violin to project within. However, Joshua Bell's sound projected quite well to where I was sitting (front of the Family Circle upstairs). He has a big sound that is a must for this to work in Heinz Hall. The crowd was enthusiastic though I would estimate that the hall was only half full. I hope that was enough to have more of these kinds of shows. I don't know how the economics of this works.
In summary, great show by great musicians. A treat for me who loves violin music. The program was well chosen (minus the Bach). If I can indulge myself in one complaint, the program biographies bothered me. I realize that Josh Bell is the headliner and most people, even me who tries to keep up with classical music, don't know Jeremy Denk. However, do you really need to gush about the "breadth and daring choices of repertoire", then list standard repertoire, movie soundtracks, and crossover bits. Anne-Sophie Mutter, Jennifer Koh, Leila Josefowicz and Gidon Kremer are daring, Bell is not. He IS great at what he does. The list of things Jeremy Denk has done reveals that HE is the daring one, with lots of modern pieces in his repertoire. I will be on the look out for some of his recordings.
Sunday, February 28, 2010
Eric Clapton, with Roger daltrey - Thursday February 25, 2010 - mellon Arena, Pittsburgh, Pa
Eric Clapton has been around a long time now. I first saw him in the mid seventies, about 35 years ago. Since that time, he got himself clean and sober (since 1987) and has gotten quite comfortable in his own skin. Memory is a funny thing so I won't pretend to be able to describe in detail the Clapton shows I saw at that time. I do remember two shows with George Terry as the other guitarist and one with Albert Lee. My clearest recollections are of a show in Huntington, West Virginia where myself and some intrepid travelers from Ohio University got pretty close on the floor at this general admission concert.
I bring these old memories to the fore because the shows in which I have seen Clapton this decade, 2004 in Columbus and 2008 at the Blossom Music Center have impressed me greatly, probably even more than the shows in the 70's. Both shows this decade had Doyle Bramhall on second guitar with him. I also had the luck to catch a random Clapton appearance in Columbus when he stepped out for three songs with his old friend Jimmy Vaughn in 2006.
So this show was unique for me in that it was the first time I have seen Clapton without another guitarist to partner with. This is the first tour since 1997 that Clapton has toured without a second (or third) guitarist with him. Clapton has remained stubborn in preparing and touring a set show each tour with little or no variation in the set list. Even the Rolling Stones have allowed themselves some flexibility on their last two tours, but not Eric. I do wonder how it might change what he is up to if he would allow himself some spontaneity. So this year, Clapton may play 50 shows but only 25 different songs. Contrast this with an extreme example, Phish in 2009 played a bit over 50 shows and over 200 different songs.
"Goin' Down Slow" opened the show, an old blues song written in 1941 by Jimmy Oden. While he might be going down slow, but it is actually an up tempo blues song. I liked this for an opener, Clapton doing a tasteful but not extravagant guitar solo. "Key to the Highway" come next. Two old blues songs to start the show, I'm O.K. with that. "Key to the Highway" is associated with Charles Segar and Big Bill Broonzy and first turned up on recordings in the early 40's. Clapton first did it on his only Derek and the Domino's studio album which features he and Duane Allman trading some blistering licks. Here it is relatively short with Eric opening it up just a bit more than the first song. Another Derek song, "Tell the Truth", written by Bobby Whitlock and Clapton came next. I should say, this and Key are old favorites of mine and always a treat to hear. Eric brings a bit more intensity here and, I should have mentioned earlier, is in good voice. One of the big differences with Clapton in his later years is that he has gained confidence and style in his singing such that he really can reach back on the blues numbers and bring something from deep within. This song builds again in intensity, bringing a bit more than the last. More blues follows with "Old Love", a song Clapton wrote with Robert Cray and Eric Patrick. Here, in the forth song Clapton delivers a blistering solo, a slow build, beautifully constructed, climaxing with some quick and smooth licks. Bob Marley's "I Shot the Sheriff" had an interesting little intro that I had not heard Clapton use before. Clapton's version of this song has not changed much over the years and is always enjoyable to hear. Again, this builds to a great climax and ends the first part of Clapton's show.
The now expected sit down part of the show. Clapton has been doing this now for a number of years. Chairs and acoustic guitars are brought out on stage. Clapton's acoustic playing is quite beautiful, the tone full and rich. Another 1940's blues number, "Driftin' Blues" credited to Charles Brown, Johnny Moore and Eddie Williams came next. This is another long time favorite of Clapton's and a wonderful example of slow acoustic blues. "Nobody Knows You When You're Down and Out", more old blues, this time from the 1920's written by Jimmy Cox. Another slow number, this time with the band joining in. More beautiful acoustic blues. "Running on Faith" is kind of a pop blues number, sung in heart felt fashion by Clapton.
The electric guitar returns, chair put away for another day, but this last part of the show starts with the popiest song of the evening, "I've Got a Rock and Roll Heart". I don't know if it was written for Clapton, but he had a hit single with it in the 80's. He and George Harrison wrote "Badge" together for Cream in the 60's. Eric has probably played this at every show since that time. The lyrics are rather opaque ah, but that bridge guitar riff is classic. It turns out that the name of the song came from a misreading of George's poor handwriting, Badge for Bridge. What is cool about that is that the bridge IS what is most striking about the song. Clapton later added the "Where is my badge" lyric and has done it that way for many years. The lyrical guitar part did not disappoint. "Little Queen of Spades" is another old blues number, this one written by the great Robert Johnson. For me this was the highlight of the show. Walt Richmond and Chris Stainton on piano and organ (not sure which was which) both played extended solos, showing off their talents with Eric climaxing the song with his most extended soloing of the night. Again, while Clapton is not an innovative guitarist, his lyricism, phrasing, musicality and alility to build a solo to a brilliant climax were on full display in this song. "Before You Accuse Me" is an uptempo blues song from the fifties written by Bo Diddley. This is one I didn't know and thoroughly enjoyed, more hot guitar licks. Clapton must love "Wonderful Tonight" though I never have. It is quite popular though and a crowd pleaser. Here it also serves as a respite between moments of intensity. I must say, the guitar solo was heartfelt and well done. The set closes with a rousing version of J.J. Cale's "Cocaine", long associated with Clapton. He gets to show off some rock and roll power chords and whips the crowd into a frenzy. The single song encore was another Robert Johnson song, long associated with Clapton since his Cream days, "Crossroads". This is not the blistering fast version immortalized on Cream's Wheels of Fire album. This version was more mid tempo but giving Eric ample opportunity to get in some last blues licks.
I was surprised that this was only a 90 minute show as I was expecting a full two hours. The fifteen songs were well done and the show had a good flow, alternating between moments of intensity and reflection. I must say that I do like Eric better with another guitarist. This may not be so much that Clapton plays better with another guitarist pushing him a bit but that he has always picked great guitarists to play with him. He also has always been ok with other guitarists fully showing what they have got. My only real complaint then is that I wanted more. I did like the heavy leaning on the blues, ten of the fifteen songs. Eric does seem happy to please himself with his sets these days, that is probably a good thing.
Roger Daltrey was the opening act. He has been excoriated in the press and on blogs regarding the Super Bowl performance. There is no defending it except to say that the whole idea of trotting out a musical act for a twelve minute show is dumb anyway. The only one I remember ever really liking was the Prince show, whenever that was. I did not have high expectations for Daltrey, as much as i love his Who work. I was surprised at how much I liked his brief 45 minute ten song set. It was a treat to hear "I Can See For Miles" as the Who has largely neglected this over the years. I had never seen it in the 5 Who shows I have seen. "The Real Me" is another Who favorite of mine and it came across surprisingly well, with the famous bass runs nicely in place. Daltrey stretched a bit with three non-Who songs, "Days of Light", "freedom Ride" (that he mentioned in connection with the great Taj Mahal), and "give Me a Stone". I liked these a lot, especially "Freedon Ride". "Real Good Looking Boy" is a somewhat obscure recent Who song, Pete Townshend's old guy homage to a young Elvis Presley. "I'm a Man" is a Bo Diddley song the Who covered on their first album, way back in 1965 (Muddy Waters also did a version of this). A brief truncated "My Generation blues" flowed into Mose Allison's "young Man Blues" made famous by the Who's Live at Leeds version. It was the same intense arrangement. This was the only place where I felt they lost their way a bit but the two guitarists got it together with some power chords and wild riffs. Pete Townshend's famous and these days ubiquitous "Baba O'Riley" finished the show, pleasing this crowd of mostly long ago teenagers singing about teenage wasteland.
Daltrey has never been a guy with much range and he has made up for this with power. He may not have the power he had in the seventies but I thought he acquited himself well in this set.
I would like to dedicate this post to Jim Miller, who died of a sudden heart attack while at this show. He loved live music and saw/heard lots of great things in his too short 54 years.
I bring these old memories to the fore because the shows in which I have seen Clapton this decade, 2004 in Columbus and 2008 at the Blossom Music Center have impressed me greatly, probably even more than the shows in the 70's. Both shows this decade had Doyle Bramhall on second guitar with him. I also had the luck to catch a random Clapton appearance in Columbus when he stepped out for three songs with his old friend Jimmy Vaughn in 2006.
So this show was unique for me in that it was the first time I have seen Clapton without another guitarist to partner with. This is the first tour since 1997 that Clapton has toured without a second (or third) guitarist with him. Clapton has remained stubborn in preparing and touring a set show each tour with little or no variation in the set list. Even the Rolling Stones have allowed themselves some flexibility on their last two tours, but not Eric. I do wonder how it might change what he is up to if he would allow himself some spontaneity. So this year, Clapton may play 50 shows but only 25 different songs. Contrast this with an extreme example, Phish in 2009 played a bit over 50 shows and over 200 different songs.
"Goin' Down Slow" opened the show, an old blues song written in 1941 by Jimmy Oden. While he might be going down slow, but it is actually an up tempo blues song. I liked this for an opener, Clapton doing a tasteful but not extravagant guitar solo. "Key to the Highway" come next. Two old blues songs to start the show, I'm O.K. with that. "Key to the Highway" is associated with Charles Segar and Big Bill Broonzy and first turned up on recordings in the early 40's. Clapton first did it on his only Derek and the Domino's studio album which features he and Duane Allman trading some blistering licks. Here it is relatively short with Eric opening it up just a bit more than the first song. Another Derek song, "Tell the Truth", written by Bobby Whitlock and Clapton came next. I should say, this and Key are old favorites of mine and always a treat to hear. Eric brings a bit more intensity here and, I should have mentioned earlier, is in good voice. One of the big differences with Clapton in his later years is that he has gained confidence and style in his singing such that he really can reach back on the blues numbers and bring something from deep within. This song builds again in intensity, bringing a bit more than the last. More blues follows with "Old Love", a song Clapton wrote with Robert Cray and Eric Patrick. Here, in the forth song Clapton delivers a blistering solo, a slow build, beautifully constructed, climaxing with some quick and smooth licks. Bob Marley's "I Shot the Sheriff" had an interesting little intro that I had not heard Clapton use before. Clapton's version of this song has not changed much over the years and is always enjoyable to hear. Again, this builds to a great climax and ends the first part of Clapton's show.
The now expected sit down part of the show. Clapton has been doing this now for a number of years. Chairs and acoustic guitars are brought out on stage. Clapton's acoustic playing is quite beautiful, the tone full and rich. Another 1940's blues number, "Driftin' Blues" credited to Charles Brown, Johnny Moore and Eddie Williams came next. This is another long time favorite of Clapton's and a wonderful example of slow acoustic blues. "Nobody Knows You When You're Down and Out", more old blues, this time from the 1920's written by Jimmy Cox. Another slow number, this time with the band joining in. More beautiful acoustic blues. "Running on Faith" is kind of a pop blues number, sung in heart felt fashion by Clapton.
The electric guitar returns, chair put away for another day, but this last part of the show starts with the popiest song of the evening, "I've Got a Rock and Roll Heart". I don't know if it was written for Clapton, but he had a hit single with it in the 80's. He and George Harrison wrote "Badge" together for Cream in the 60's. Eric has probably played this at every show since that time. The lyrics are rather opaque ah, but that bridge guitar riff is classic. It turns out that the name of the song came from a misreading of George's poor handwriting, Badge for Bridge. What is cool about that is that the bridge IS what is most striking about the song. Clapton later added the "Where is my badge" lyric and has done it that way for many years. The lyrical guitar part did not disappoint. "Little Queen of Spades" is another old blues number, this one written by the great Robert Johnson. For me this was the highlight of the show. Walt Richmond and Chris Stainton on piano and organ (not sure which was which) both played extended solos, showing off their talents with Eric climaxing the song with his most extended soloing of the night. Again, while Clapton is not an innovative guitarist, his lyricism, phrasing, musicality and alility to build a solo to a brilliant climax were on full display in this song. "Before You Accuse Me" is an uptempo blues song from the fifties written by Bo Diddley. This is one I didn't know and thoroughly enjoyed, more hot guitar licks. Clapton must love "Wonderful Tonight" though I never have. It is quite popular though and a crowd pleaser. Here it also serves as a respite between moments of intensity. I must say, the guitar solo was heartfelt and well done. The set closes with a rousing version of J.J. Cale's "Cocaine", long associated with Clapton. He gets to show off some rock and roll power chords and whips the crowd into a frenzy. The single song encore was another Robert Johnson song, long associated with Clapton since his Cream days, "Crossroads". This is not the blistering fast version immortalized on Cream's Wheels of Fire album. This version was more mid tempo but giving Eric ample opportunity to get in some last blues licks.
I was surprised that this was only a 90 minute show as I was expecting a full two hours. The fifteen songs were well done and the show had a good flow, alternating between moments of intensity and reflection. I must say that I do like Eric better with another guitarist. This may not be so much that Clapton plays better with another guitarist pushing him a bit but that he has always picked great guitarists to play with him. He also has always been ok with other guitarists fully showing what they have got. My only real complaint then is that I wanted more. I did like the heavy leaning on the blues, ten of the fifteen songs. Eric does seem happy to please himself with his sets these days, that is probably a good thing.
Roger Daltrey was the opening act. He has been excoriated in the press and on blogs regarding the Super Bowl performance. There is no defending it except to say that the whole idea of trotting out a musical act for a twelve minute show is dumb anyway. The only one I remember ever really liking was the Prince show, whenever that was. I did not have high expectations for Daltrey, as much as i love his Who work. I was surprised at how much I liked his brief 45 minute ten song set. It was a treat to hear "I Can See For Miles" as the Who has largely neglected this over the years. I had never seen it in the 5 Who shows I have seen. "The Real Me" is another Who favorite of mine and it came across surprisingly well, with the famous bass runs nicely in place. Daltrey stretched a bit with three non-Who songs, "Days of Light", "freedom Ride" (that he mentioned in connection with the great Taj Mahal), and "give Me a Stone". I liked these a lot, especially "Freedon Ride". "Real Good Looking Boy" is a somewhat obscure recent Who song, Pete Townshend's old guy homage to a young Elvis Presley. "I'm a Man" is a Bo Diddley song the Who covered on their first album, way back in 1965 (Muddy Waters also did a version of this). A brief truncated "My Generation blues" flowed into Mose Allison's "young Man Blues" made famous by the Who's Live at Leeds version. It was the same intense arrangement. This was the only place where I felt they lost their way a bit but the two guitarists got it together with some power chords and wild riffs. Pete Townshend's famous and these days ubiquitous "Baba O'Riley" finished the show, pleasing this crowd of mostly long ago teenagers singing about teenage wasteland.
Daltrey has never been a guy with much range and he has made up for this with power. He may not have the power he had in the seventies but I thought he acquited himself well in this set.
I would like to dedicate this post to Jim Miller, who died of a sudden heart attack while at this show. He loved live music and saw/heard lots of great things in his too short 54 years.
Tuesday, February 23, 2010
St. Vincent - Sunday February 21, 2010 - Diesel Nite Club, Pittsburgh, PA
It is hard these days to do new things in the world of popular music (popular used in a very broad sense). St. Vincent seems to have achieved this, which is an accomplishment in and of itself. While I will mention some reference points, I do want to underline how unique and refreshing was this show.
I went to this show relatively cold and I will assume you don't know this music either. Let me first describe: Annie Clark (aka St. Vincent)- Tall, thin, pale, striking dark curly hair, somewhat ethereal voice though with confidence and power; Evan Smith - sax, flute and clarinet variously ethereal and punchy on sax; Daniel Hart - mostly violin and some guitar, some backing vocals - no real virtuoso soloing, moody, floating above; Bill Flynn - lively, punchy but underneath; Anthony Lamarca - drums, solid and quick to shift gears, time signatures. The band, I assume through lots of recent touring, is tight, turns on a dime, delivers a wide range of sounds, moods through their unusual instrumentation.
St. Vincent is a study in contrast and contradictions, done with great engagement and creativity. Ethereal flute and violin figures interrupted by brittle, distorted electric guitar; strong and waif-like; singing "help me" or "save me from what I want", without conveying any sense that she needs help or saving. Songs start with delicacy and rise to big, loud, distorted crescendos.
I do want to mention what a fan I am of expertly distorted electric guitars. I have heard and seen many of the great ones, Pete Townshend, Jeff Beck, Larry Coryell, Tom Verlaine, Trey Anastasio, Thurston Moore, Lee Ranaldo Adrian Belew, Robert Fripp, Jeff Tweedy and Nils Cline. St. Vincent I gladly add to this venerable list. Her sound experiments are an integral part of her music, at times pounding her fist on the body of her guitar to get the desired effect/sound. While moments of this show recalled some of the punchy, wind, percussed sound of some Zappa or that obscure Fripp band, the League of Gentlemen, none of it sounded derivative, but rather fresh and new. With all of the music I see, new can be quite fun (Andrew bird is the other discovery from last year that goes in that category, thanks to Julia).
Highlights tonight were the beautiful, delicate, solo St. Vincent cover of Jackson Browne's These Days. Save Me From What I Want and Marrow, I find particularly alluring. Though I must say that I was engaged by the entire show and plan to explore St. Vincent's music with great interest and will not miss her when in town or close by.
Diesel is turning out to be a venue I like a lot. I saw a great Belew Power Trio show there last year. At this show, the sound was good, clean and capturing the sometimes delicate textures while also delivering power when needed. St. Vincent's light show added nicely to the performance.
I went to this show relatively cold and I will assume you don't know this music either. Let me first describe: Annie Clark (aka St. Vincent)- Tall, thin, pale, striking dark curly hair, somewhat ethereal voice though with confidence and power; Evan Smith - sax, flute and clarinet variously ethereal and punchy on sax; Daniel Hart - mostly violin and some guitar, some backing vocals - no real virtuoso soloing, moody, floating above; Bill Flynn - lively, punchy but underneath; Anthony Lamarca - drums, solid and quick to shift gears, time signatures. The band, I assume through lots of recent touring, is tight, turns on a dime, delivers a wide range of sounds, moods through their unusual instrumentation.
St. Vincent is a study in contrast and contradictions, done with great engagement and creativity. Ethereal flute and violin figures interrupted by brittle, distorted electric guitar; strong and waif-like; singing "help me" or "save me from what I want", without conveying any sense that she needs help or saving. Songs start with delicacy and rise to big, loud, distorted crescendos.
I do want to mention what a fan I am of expertly distorted electric guitars. I have heard and seen many of the great ones, Pete Townshend, Jeff Beck, Larry Coryell, Tom Verlaine, Trey Anastasio, Thurston Moore, Lee Ranaldo Adrian Belew, Robert Fripp, Jeff Tweedy and Nils Cline. St. Vincent I gladly add to this venerable list. Her sound experiments are an integral part of her music, at times pounding her fist on the body of her guitar to get the desired effect/sound. While moments of this show recalled some of the punchy, wind, percussed sound of some Zappa or that obscure Fripp band, the League of Gentlemen, none of it sounded derivative, but rather fresh and new. With all of the music I see, new can be quite fun (Andrew bird is the other discovery from last year that goes in that category, thanks to Julia).
Highlights tonight were the beautiful, delicate, solo St. Vincent cover of Jackson Browne's These Days. Save Me From What I Want and Marrow, I find particularly alluring. Though I must say that I was engaged by the entire show and plan to explore St. Vincent's music with great interest and will not miss her when in town or close by.
Diesel is turning out to be a venue I like a lot. I saw a great Belew Power Trio show there last year. At this show, the sound was good, clean and capturing the sometimes delicate textures while also delivering power when needed. St. Vincent's light show added nicely to the performance.
Sunday, February 21, 2010
Laura Motchalov, Pittsburgh Youth Symphony Orchestra, Lawrence Loh - Saturday February 20, 2010
I recently met Laura Motchalov through a mutual friend. When she told me she was performing the Shostakovich First Violin Concerto with the Youth Symphony, I had to attend. I love Shostakovich and I love violin concertos, how could I resist. Seriously, this concerto is the most recent concerto that can be called standard repertoire (though you could argue for Bernstein's Seranade, I don't think it is quite there yet). Most solo violinists now record the Shostakovich First and the major orchestras are not too afraid to program it. Even our beloved, conservative PSO is doing it next year with Leila Josefowicz.
The PYSO is made up primarily of High School musicians with a few college underclasspersons mixed in. Lawrence Loh is in charge of the orchstra and also Resident Conductor for the PSO. Laura is in the Second Violin section of the PSO and also plays with the local new music group, IonSound. Mr. Loh, talking before the performance, stated that he gave Ms. Motchalov carte blanche to choose a piece, and I and quite happy she choose this one.
The PYSO opened with Shostakovich's Festive Overture. I believe this was the kind of music that the Soviets wanted Dmitri to write. It is short, a little bombastic, and actually Festive. The PYSO played it with gusto. I was having a little thought experiment about what if Copland and Shostakovich had been switched at birth. Copland, under less overt pressure, created music that really celebrated America. Shostakovich, under great pressure to celebrate, often seemed to be mourning his country.
That brings us to the First Violin Concerto. The story about the concerto is quite revealing about the concerto. Shostakovich kept the piece unplayed for many years until Stalin died and he felt it was safe to have it played in public. It is exactly the kind of piece that they did NOT want Dmitri writing. Two long slow movements, each followed by fast, biting, over the top wild music. In the opening movement, the sounds were muted, which emphasized the symphonic element of the movement. This isn't exactly an orchestra piece with violin obbligatto as the violin p[art is too important and prominent. Still there really are no virtuoso elements to it. Slowly the solo violin weaves it's way in and around the orchestra, playing with rather than in opposition. This must present challenges in sustaining a somber mood through about 12 minutes of music. Laura, Mr. Loh and the orchestra did this well. Nothing hurried about it but with good concentration.
The Second, scherzo movement, changes mood immediately with these rhythmic bursts from the solo violin. This builds in speed and intensity until it becomes wild, playful, sarcastic. I expect that Stalin particularly would have hated the juxtaposition of the somber with sarcastic. Laura's violin work was nicely playful in this movement, fleet and lively.
For me, it is the Third movement that is the crux of the piece. Here the somberness of the first movement becomes out and out mournful. Even with the distractions which come with this type of concert, such as the little guy across the aisle banging on his armrest with his Spiderman action figure (at least it was in time with the music), this performance was quite moving. I felt overwhelmed by it for a few moments. A great live performance can do that in a way that even a great recording can't really capture.
The violin cadenza that bridges the Third and Fourth Movements is the longest cadenza that I know. It also really does advance the musical argument of the piece. It finishes the Third movement and slowly works it's way toward the last movement, called Burlesque by Shostakovich. The soloist does get to show off a bit in the cadenza and Laura showed off quite well.
Going from mournful to Burlesque is quite a trick, Shostakovich takes a full four and a half minutes for the Cadenza to accomplish this. Then we are off to the races, the violin needing to be fleet, bouncy and powerful often all at the same time. Laura brought this off, often with a good bit of flair. Again, the juxtaposition of the third and Fourth movements is powerful. This Burlesque, while certainly fun, is over the top in its frivolousness, just what the Soviets didn't order. Thoroughly enjoyable. The PYSO supported Laura and followed Maestro Loh well.
I do enjoy seeing a student orchestra when they play as well as this group does. The differences between them and a top orchestra are vast. This helps remind me what an accomplishment it is to do what great orchestras do. The PYSO did present the music such that I could enjoy it. That is quite a accomplishment and some of these musicians will surely go on to musical careers.
The PYSO is made up primarily of High School musicians with a few college underclasspersons mixed in. Lawrence Loh is in charge of the orchstra and also Resident Conductor for the PSO. Laura is in the Second Violin section of the PSO and also plays with the local new music group, IonSound. Mr. Loh, talking before the performance, stated that he gave Ms. Motchalov carte blanche to choose a piece, and I and quite happy she choose this one.
The PYSO opened with Shostakovich's Festive Overture. I believe this was the kind of music that the Soviets wanted Dmitri to write. It is short, a little bombastic, and actually Festive. The PYSO played it with gusto. I was having a little thought experiment about what if Copland and Shostakovich had been switched at birth. Copland, under less overt pressure, created music that really celebrated America. Shostakovich, under great pressure to celebrate, often seemed to be mourning his country.
That brings us to the First Violin Concerto. The story about the concerto is quite revealing about the concerto. Shostakovich kept the piece unplayed for many years until Stalin died and he felt it was safe to have it played in public. It is exactly the kind of piece that they did NOT want Dmitri writing. Two long slow movements, each followed by fast, biting, over the top wild music. In the opening movement, the sounds were muted, which emphasized the symphonic element of the movement. This isn't exactly an orchestra piece with violin obbligatto as the violin p[art is too important and prominent. Still there really are no virtuoso elements to it. Slowly the solo violin weaves it's way in and around the orchestra, playing with rather than in opposition. This must present challenges in sustaining a somber mood through about 12 minutes of music. Laura, Mr. Loh and the orchestra did this well. Nothing hurried about it but with good concentration.
The Second, scherzo movement, changes mood immediately with these rhythmic bursts from the solo violin. This builds in speed and intensity until it becomes wild, playful, sarcastic. I expect that Stalin particularly would have hated the juxtaposition of the somber with sarcastic. Laura's violin work was nicely playful in this movement, fleet and lively.
For me, it is the Third movement that is the crux of the piece. Here the somberness of the first movement becomes out and out mournful. Even with the distractions which come with this type of concert, such as the little guy across the aisle banging on his armrest with his Spiderman action figure (at least it was in time with the music), this performance was quite moving. I felt overwhelmed by it for a few moments. A great live performance can do that in a way that even a great recording can't really capture.
The violin cadenza that bridges the Third and Fourth Movements is the longest cadenza that I know. It also really does advance the musical argument of the piece. It finishes the Third movement and slowly works it's way toward the last movement, called Burlesque by Shostakovich. The soloist does get to show off a bit in the cadenza and Laura showed off quite well.
Going from mournful to Burlesque is quite a trick, Shostakovich takes a full four and a half minutes for the Cadenza to accomplish this. Then we are off to the races, the violin needing to be fleet, bouncy and powerful often all at the same time. Laura brought this off, often with a good bit of flair. Again, the juxtaposition of the third and Fourth movements is powerful. This Burlesque, while certainly fun, is over the top in its frivolousness, just what the Soviets didn't order. Thoroughly enjoyable. The PYSO supported Laura and followed Maestro Loh well.
I do enjoy seeing a student orchestra when they play as well as this group does. The differences between them and a top orchestra are vast. This helps remind me what an accomplishment it is to do what great orchestras do. The PYSO did present the music such that I could enjoy it. That is quite a accomplishment and some of these musicians will surely go on to musical careers.
Pittsburgh Symphony Orchestra, Leonard Slatkin - Friday February 19, 2010
I was surprised when I sat down with my program that the Mason Bates piece Liquid Interface was the major work, in terms of length, on this program. After the literal half measure taken earlier this year in programing Danielpour's Zorastrian Riddles, they program two new works in their entirety as the centerpiece between two crowd pleasers.
Leonard Slatkin noted that the theme of this show could be four generations of American composers. Bernstein, the second generation represented here, came first on the program with Three Danse Episodes fromOn The Town. This is Bernstein at his most jazzy and accessible. This was originally music for Broadway after all. I made a flip remark to Markus before the show that his is not Bernstein at his best. I like Bernstein's more serious music, the Chichester Psalms, the Serenade, the symphonies. But Bernstein was good a writing music that straddled different worlds, so I should cut him some slack for these pieces. My worry, or frequent complaint, with this kind of music is about the orchestra being able to produce what I think the composer was going for, In this case, Swing is the key. I really should not have worried about the PSO and Slatkin. Perhaps as this music gets older in relation to the orchestra, that just isn't an issue. Could just be a good collaboration. The music was light, flexible, and fun as it should be for these pieces.
Mason Bates came next with his thirty minute Liquid Interface. This was my first encounter with Bates live (discounting DJ Masonic on Wednesday), and while I listened to some short classical pieces on the internet, almost my first encounter at all. This is programmatic music, ala Debussy and Srauss. The piece, though referencing liquid, is actually about water in all of it's forms. Water is the only substance on Earth that naturally exists in solid, liquid and gaseous forms. The piece starts with glaciers cracking (with sounds sampled from Daniel Grossman's recordings of actual glaciers). This is all accessible music, reminiscent at times of John Adams second generation minimalist music. The second part, sort of a scherzo, moved faster and included more of Mason's live electronica contributions, very non-orchestra kind of sounds, clicks, pops representing water droplets. The third movement is called Crescent City, a New Orleans nickname that was new to me. This connects up with the power of water in the form of a hurricane. It connects with the city through New Orleans Jazz sounds, moving in and around the rest of the music. I could not tell how much of he jazz, if any was sampled and how much played live. This was definitely my favorite part of the piece as I liked the mix of different elements. This build to a climax that became the sounds of the hurricane delivered electronically. The last movement is sort of a coda as the climax is definitely past. This is supposed to represent water evaporating, becoming gas, lighter than air. This makes sense musically and artistically and even emotionally as you may not want to leave us destroyed by a hurricane. It does remind me of the pitfalls of ending a symphonic piece quietly. Just as Brahms Third symphony probably gets less of a ovation than it deserves, audiences do react to where they are when a piece ends. I myself want to hear more from Mr. Bates. He kept my attention and the 30 minutes did not seem like 30 minutes to me.
I am only mildly interested in Richard Danielpour's music as what I had heard prior to this show was well constructed, enjoyable but I did not really engage with it. The third piece on the program and the third generation represented at this show was Danielpour's Pastime. This was his homage to three Negro League Baseball players, Josh Gibson, Jackie Robinson and Henry Aaron. The lyrics were adapted from poems by Michael Harper. Danielpour spoke before the piece was performed and spoke of his own love of baseball, his stint as a batboy for the Atlanta Braves and feeling mentored by Henry Aaron during that time. Perhaps all of those things made this a more engaging piece for me. Perhaps my own love of baseball as a kids and my strong memory of seeing Henry Aaron hit a homerun against my team the Cinncinati Reds at Crosly Field in the late sixties. Baritone Gregg Baker, a mountainous African American singer, delivered the words beautifully. He was a striking figure, towering over Leonard Slatkin even with Mr. Slatkin on the raised podium. I am also not always engaged by vocal classical music but on this occasion, I found the performance quite moving, the most emotionally satisfying part of the evening.
Gershwin was the first generation represented and the last one on this program. His An American in Paris was certainly the best known piece on the program. This was nicely done, fun and enjoyable. For me though, I liked all of the other pieces better. I wonder what the rest of the audience thought about this. Markus did have the same experience of this that I had.
Leonard Slatkin noted that the theme of this show could be four generations of American composers. Bernstein, the second generation represented here, came first on the program with Three Danse Episodes fromOn The Town. This is Bernstein at his most jazzy and accessible. This was originally music for Broadway after all. I made a flip remark to Markus before the show that his is not Bernstein at his best. I like Bernstein's more serious music, the Chichester Psalms, the Serenade, the symphonies. But Bernstein was good a writing music that straddled different worlds, so I should cut him some slack for these pieces. My worry, or frequent complaint, with this kind of music is about the orchestra being able to produce what I think the composer was going for, In this case, Swing is the key. I really should not have worried about the PSO and Slatkin. Perhaps as this music gets older in relation to the orchestra, that just isn't an issue. Could just be a good collaboration. The music was light, flexible, and fun as it should be for these pieces.
Mason Bates came next with his thirty minute Liquid Interface. This was my first encounter with Bates live (discounting DJ Masonic on Wednesday), and while I listened to some short classical pieces on the internet, almost my first encounter at all. This is programmatic music, ala Debussy and Srauss. The piece, though referencing liquid, is actually about water in all of it's forms. Water is the only substance on Earth that naturally exists in solid, liquid and gaseous forms. The piece starts with glaciers cracking (with sounds sampled from Daniel Grossman's recordings of actual glaciers). This is all accessible music, reminiscent at times of John Adams second generation minimalist music. The second part, sort of a scherzo, moved faster and included more of Mason's live electronica contributions, very non-orchestra kind of sounds, clicks, pops representing water droplets. The third movement is called Crescent City, a New Orleans nickname that was new to me. This connects up with the power of water in the form of a hurricane. It connects with the city through New Orleans Jazz sounds, moving in and around the rest of the music. I could not tell how much of he jazz, if any was sampled and how much played live. This was definitely my favorite part of the piece as I liked the mix of different elements. This build to a climax that became the sounds of the hurricane delivered electronically. The last movement is sort of a coda as the climax is definitely past. This is supposed to represent water evaporating, becoming gas, lighter than air. This makes sense musically and artistically and even emotionally as you may not want to leave us destroyed by a hurricane. It does remind me of the pitfalls of ending a symphonic piece quietly. Just as Brahms Third symphony probably gets less of a ovation than it deserves, audiences do react to where they are when a piece ends. I myself want to hear more from Mr. Bates. He kept my attention and the 30 minutes did not seem like 30 minutes to me.
I am only mildly interested in Richard Danielpour's music as what I had heard prior to this show was well constructed, enjoyable but I did not really engage with it. The third piece on the program and the third generation represented at this show was Danielpour's Pastime. This was his homage to three Negro League Baseball players, Josh Gibson, Jackie Robinson and Henry Aaron. The lyrics were adapted from poems by Michael Harper. Danielpour spoke before the piece was performed and spoke of his own love of baseball, his stint as a batboy for the Atlanta Braves and feeling mentored by Henry Aaron during that time. Perhaps all of those things made this a more engaging piece for me. Perhaps my own love of baseball as a kids and my strong memory of seeing Henry Aaron hit a homerun against my team the Cinncinati Reds at Crosly Field in the late sixties. Baritone Gregg Baker, a mountainous African American singer, delivered the words beautifully. He was a striking figure, towering over Leonard Slatkin even with Mr. Slatkin on the raised podium. I am also not always engaged by vocal classical music but on this occasion, I found the performance quite moving, the most emotionally satisfying part of the evening.
Gershwin was the first generation represented and the last one on this program. His An American in Paris was certainly the best known piece on the program. This was nicely done, fun and enjoyable. For me though, I liked all of the other pieces better. I wonder what the rest of the audience thought about this. Markus did have the same experience of this that I had.
DJ Masonic with Jeff Grubbs; Kerem Gokem; DJ aFugate - Wednesday February 17, 2010 - WYEP
It may not be obvious but this post connects to the next one I will write as DJ Masonic is the DJ moniker of Mason Bates, the composer of the major work on the Pittsburgh Symphony's weekend program. I was not planning on attending any of these shows but got roped in by Markus and my own ears after streaming some of Mason Bates' classical compositions.
My friend and honorary cousin, aFugate was the opening dubster. The music he creates (?), channels (?), mixes (?) with mesmerizing visuals is quite intense, fairly in your face (definitely in your eyes). At one loll between numbers, he bemusedly looked out at the audience, asked if we were doing OK and noted that "this isn't really sit down music". Yes, we in the audience were sitting on our asses, drinking our complimentary beer or wine and munching down pizza and pierogies. This confirms again how important context is in the producing and experiencing music. In a club or hall with young people who have come to move, you would have had a throng of bodies synced up with the music and visuals. Anthony does play some live percussion with his music and actually is responding to it himself in his movements. His music is quite visceral and does call that forth.
Kerem Gokem was a different kind of DJ. His music was generally quite chilled out and as he changed things with his computer and mix board, he looked like a technician rather than a musician. Perhaps he was responding to the context and decided not to get in our faces and let us be comfy on our bums.
DJ Masonic was somewhat like Kerem in the way he presented to the audience. One twist was the he had Jeff Grubbs, bassist from the Pittsburgh Symphony, playing live with him. Mason noted that they had just met an hour before this show so there wasn't time to actually rehearse. While it took them a few minutes to get into a groove together, once locked in it was something to see and hear. The DJ Masonic mix was at times overtly jazz, with sax solos, etc... Jeff mostly played pizzicato with some bowing mixed in. I don't think of PSO musicians as able to improve but Jeff was impressive in his lively and inventive bass lines. DJ Masonic clearly was playing off and with Jeff though again looked like a technician. He could have been updating his facebook page and we would not have known it in the audience.
My friend and honorary cousin, aFugate was the opening dubster. The music he creates (?), channels (?), mixes (?) with mesmerizing visuals is quite intense, fairly in your face (definitely in your eyes). At one loll between numbers, he bemusedly looked out at the audience, asked if we were doing OK and noted that "this isn't really sit down music". Yes, we in the audience were sitting on our asses, drinking our complimentary beer or wine and munching down pizza and pierogies. This confirms again how important context is in the producing and experiencing music. In a club or hall with young people who have come to move, you would have had a throng of bodies synced up with the music and visuals. Anthony does play some live percussion with his music and actually is responding to it himself in his movements. His music is quite visceral and does call that forth.
Kerem Gokem was a different kind of DJ. His music was generally quite chilled out and as he changed things with his computer and mix board, he looked like a technician rather than a musician. Perhaps he was responding to the context and decided not to get in our faces and let us be comfy on our bums.
DJ Masonic was somewhat like Kerem in the way he presented to the audience. One twist was the he had Jeff Grubbs, bassist from the Pittsburgh Symphony, playing live with him. Mason noted that they had just met an hour before this show so there wasn't time to actually rehearse. While it took them a few minutes to get into a groove together, once locked in it was something to see and hear. The DJ Masonic mix was at times overtly jazz, with sax solos, etc... Jeff mostly played pizzicato with some bowing mixed in. I don't think of PSO musicians as able to improve but Jeff was impressive in his lively and inventive bass lines. DJ Masonic clearly was playing off and with Jeff though again looked like a technician. He could have been updating his facebook page and we would not have known it in the audience.
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