- Nothing for WATCH until The Count of Monte Cristo at Aldersgate this fall.
- I’ve just submitted my evaluations of scripts for AACT’s NewPlayFest 2020.
Anderson, Heart of a Dog
“When L died, our teacher said, Every time you think of her, give something away, or, do something kind. And I said, Then I’d be giving things away non-stop. And he said, So?”
Category Archives: Music
So, picking up some vibration in the air or other, I recently watched Keep On Keepin’ On (2014), Alan Hicks’s documentary about the relationship between veteran jazz trumpeter Clark Terry and the young pianist Justin Kauflin. The film was thin in the areas I was curious about, namely Terry’s career in the 1940s and onward—his departure from the Duke Ellington orchestra gets only an offhand mention, for instance—but it does a good job of telling the story it wants to tell. Terry was an influence on so many players, and he continued to nurture talents like Kauflin’s into his 90s. His body ravaged by diabetes, Terry kept on teaching.
My familiarity with Terry’s work is rather limited, but he was a gateway drug for me, like Dave Brubeck. I have a vinyl recording of Terry performing live with the Ohio State University Jazz Ensemble; this would be early 1970s, as I bought it after then band played a high school assembly for us. His work with the horn impressed me less than his vocal work, especially his signature piece “Mumbles,” an encore bit of rhythmic whimsy.
Anyway, it came as a slight shock to learn that Terry had died just this past week, as Reuters reports. Another one gone, but we have his recordings (more than 900 of them!) and his students.
Gabriel Cohen covers a Broadway high-wire act: pit musicians who fill in for the regular performers, sometimes on 15 minutes’ notice.
… Jeff Schiller, another “Kinky Boots” sub, recalled, “I got a call half an hour into a show, when a regular was experiencing incredible kidney stone pain.” Luckily, Mr. Schiller, who goes by the nickname Houndog, lives near the theater district. He swapped in between numbers in the middle of Act One.
Arranged for clarinet and piano, Stephen Sondheim’s vinegary-sweet bit of exposition, “You Must Meet My Wife” from A Little Night Music, heard at my neighborhood Safeway this afternoon.
Crate & Barrel this afternoon, shopping for wine glasses: a live version of the Velvet Undeground’s “Femme Fatale.” It wasn’t the album version; I couldn’t tell whether it was another band covering it, but the vocalist did sound like Nico.
NPR has the unhappy news of the passing of Marian McPartland, jazz pianist and genteel radio host. McPartland was one of the last four survivors of the photographic portrait from 1958, “A Great Day in Harlem.”
The nut of Jeremy Denk’s “Every Good Boy Does Fine,” a recollection of his training and teachers, in the 8 April 2013 issue of The New Yorker:
The aim of that first lesson, I later realized, was to ennoble the art of practicing. You were not practicing “phrasing”; you were drawing like Michaelangelo, or seducing like Don Juan. [György] Sebők said many times that you don’t teach piano playing at lessons; you teach how to practice—the daily rite of discovery that is how learning really happens.
Comet C/2013 A1 (Siding Spring), discovered just this January, is expected to come within 100,000 km of Mars in October 2014, as O.M. reports (as Babbage). Perhaps even closer: the track of a comet is not as predictable as that of an asteroid, as the flying snowball ejects mass on its approach to the sun. Astronomers, professionals and amateurs alike, are looking at the possibility of an even closer approach, and an actual impact is not out of the question at this point.
Update: More reporting on the story, with a fabulous hed and subhed for us Cole Porter fans.
Brian Eno talks to Ha-Joon Chang about free-market capitalism, Terry Riley’s In C, and wasting time.
BRIAN ENO: One of the characteristics of people, whether on the left or the right, is that they can’t tolerate uncertainty. They don’t want a system with any leaks in it. They want to think they’re capable of battening everything down – and if only people would fucking stick to the rules, it would work. When those systems don’t work, it’s always because, in their opinion, somebody didn’t play the game correctly.
Allan Kosnin on the problems of conserving the instruments of 20th century music: Philip Glass’s Farfisa organ, Milton Babbitt’s RCA Mark II synthesizer, and something substantially lower-tech:
Ligeti’s “Poème Symphonique” for 100 metronomes (1962) should be the easiest of his scores to perform: all you have to do is wind up the 100 metronomes, start them at exactly the same time (O.K., that is not so easy) and let them wind down until the last one stops.
But try finding 100 windup metronomes these days.
The Bodleian Library has launched a pilot project to generate metadata for a collection of 64 boxes of sheet music from the mid-Victorian period. The project looks to crowdsource the extraction of key signature, tempo, genre, and other information about the scores, most of which are for piano.