Eroica by the Berkeley Symphony

Last night the BSO played a concert featuring a piece by Paul Dresher, and the Eroica Symphony. I felt the concert was successful, even strong, and I am enjoying playing the bass again. I want to begin playing some chamber music...

CMEA Bay Section Winter Conference

I attended a wonderful conference on Friday at San Jose State. The sessions I attended were inspiring and helpful. First, I got to finally work with Greg Gilpin, whose vocal arrangements I have admired for years. Every music teacher present sang beautifully, and it was a positive and energizing experience. We started out with a groovy Benedictus in multiple meters that was a blast to sing. Two other highlights from this session: Fifty Nifty United States by Ray Charles, and a nice medley of Put a Little Love in Your Heart/Soul Train. I then attended a fabulous session on "How to Improvise", by Jeffrey Chappell. He attended Curtiss and Peabody, and had a 28-year career as a classical concert pianist when he decided to study jazz. He has broken in down brilliantly using LaRue's guide to musical style, and was effective in getting convincing improvisations from willing and not-as-willing participants. It was a well-attended session. The Alexander String Quartet gave a marvelous presentation on chamber music and rehearsal techniques, and Barry Green(The Inner Game of Music) gave a fun and interesting presentation on integrating voice, breath and movement to enhance expression. The "wine and cheese" reception was a cornucopia of wonderful things to eat and drink, and the Westminster College Choir concert was a thrilling example of the highest of human achievement in choral art.

Shake the Papaya Down | Lyrics

Shake the Papaya Down | Lyrics

Odd Meter to Meet Boom and Chuck

Rehearsed with my posse last night. It sounds better every time we get together. We have too much material to feature everyone, so the biggest challenge is in the weaning; getting the balance right. I am terrible on the violin, but everyone encourages me, so I shall be brave; oh, yeah, and practice.
Music is a time machine. When you perform or listen to music from another time and place, it can take you there. It's a funny thing...
I am working on a Caribbean folksong in 5 meter, yes, five-meter. It is called "Turn the World Around". I am distilling it from a written arrangement that was my first introduction to this song. Today I copied down lyrics which I must go learn.
I worked with my percussion students today to get the tempo from the count-off, and introduced them to my friends Boom and Chuck. The 5th-6th gr band sounds great.

Spring Strawberry '09

Just got back from Strawberry Music Festival. Joe and I stayed at fabulous Camp Decadence, whose orange cargo parachute landmark helped us locate it when we were wearily trekking home from a late night show. We managed to obtain backstage passes again this year, as the Red Stick Ramblers' bassist and fine harmony vocalist Eric needed to borrow a bass and liked mine. Thanks to Don Burnham, who introduced me to the Ramblers through his favorite fiddler in the world, Kevin Wimmer. I had a most wonderful jam with Kevin and Don, and then the rest of the band showed up (sans drummer) and we all played. Eric and I traded off and had a marvelous time. I like the Red Stick Ramblers because they are a great dance band, Cajun style, and have two fiddlers, wonderful guitar, bass and drums. One of the highlights of their set was an odd little number called Main Street Blues, with pizzicato fiddles and bowed bass. Eric made my bass sound so good! Thanks, fellas!
I heard Natalie MacMaster on Saturday night; I couldn't believe one human being could dance and play like that at the same time. It made me cry, and I don't know why, but I sure enjoyed the show.
One last note about the weekend: Marty Stuart was the headliner on Sunday night. We first saw Marty on a documentary tribute to Bill Monroe, and here he was, live! What a great mando player! He and his band (the Fabulous Superlatives) lived up to their name.
Wwow, and thanks, Marty.
Another comment must be made about Trombone Shorty and Orleans Avenue: just great playing all around. I had never heard a trombone player like that, and then he played the heck out of the trumpet. They basically knocked everyone's socks off.
And the weather was perfect!

An Apology to Felix and Learning as I Go

Well, it turns out that the bass part to Felix Mendelssohn's Elijah was playable. It was a nice performance, very passionate, and we all got a standing ovation. Nice.
My practice session tonight will include some solo pieces: very fun to play as I become accustomed to the new instrument and bow.

Sibling Rivalry in the Mendelssohn Home

Tonight I am playing the bass part for Felix Mendelssohn's oratorio "Elijah" in rehearsal with Cantare con Vivo, conducted by the capable and artistic David Morales. My part is a Kalmus edition. Now, over the years, I have seen many errors in Kalmus editions. The rumor is that around the time of WWII, Kalmus went around Europe rescuing printing plates for old music. This piece was written during Felix' lifetime, 1809-1847. (Sorry, I can't look it up right now...back to our story.) It was common in the 18th and 19th centuries to publish the violincello and contrabass parts together, I guess to save paper, and the bass part is invariably simpler. It is a huge instrument, six feet tall. No, I am not making excuses, here, I have wrangled this behemoth successfully for over forty years.I was thinking about the perception of the listener. Did Felix intend for the low bass frequencies of each pitch be heard? My strategy here is to simplify, and if it causes me to get fired from the gig, it was worth it. Even in the time of the greatest bass virtuosi, no bass part has looked like this, and I really believe it won't sound like anything but rumbling at the tempos suggested. Maestro Morales is following the example of Norrington and others in the tempi department, and setting faster metronome markings than written in our parts.
So, here we are, with a trillion notes to play, quality iffy. Did you know that Felix's sister, Fanny was also a composer? Here is a quote from her: " I no longer know how one feels when one wants to compose a song." Wow. I have played Fanny's music, and I have played Felix' music. I like Fanny's Oratorio better.
See you on the flipside.