Caleb Chapman’s Crescent Super Band in Review (DCINY)

Distinguished Concerts International New York (DCINY) presents
Caleb Chapman’s Crescent Super Band
Featuring The Voodoo Orchestra and La Onda Caribena
Guest Artists David Sanborn, saxophone; Wayne Bergeron, trumpet; Russell Schmidt, piano
Stern Auditorium, Carnegie Hall, New York, NY
May 21, 2013
 
Caleb Chapman's Crescent Super Band at Carnegie Hall

Caleb Chapman’s Crescent Super Band at Carnegie Hall

Caleb Chapman is a young man in a hurry. Not yet forty years old, he is the Director of eleven ensembles, published author, and award- winning musician. He was invited by Distinguished Concerts International New York (DCINY) to bring to Carnegie Hall his elite Crescent Super Band, The Voodoo Orchestra,  and La Onda Caribeña. All three groups consist of players from the ages of fifteen to eighteen in the state of Utah. Special guests David Sanborn, Wayne Bergeron, and Russell Schmidt were also to have featured roles.

Founded in 2001 and with a list of honors a mile long, including countless accolades from Downbeat magazine, ten Best of State awards, product endorsements and sponsors, the Crescent Super Band is, on paper, a very impressive group. I must admit that I was somewhat wary of this build-up. While I am a huge fan of youth concerts and particularly enjoy the big band and jazz styles, I also have high expectations for the same based upon my own performing experiences (from the years 19…uh…well, never mind when!). I would have to wait until the second half to see.

Meanwhile, The Voodoo Orchestra took to the stage to open the night. Any ideas I might have had about this ensemble being a time-filler opening group were immediately obliterated by a super-stylish and slick performance of Spider-Man. I could not believe I was hearing players that were fifteen to eighteen years old! This was playing at a level to rival any professional group. The Voodoo Orchestra takes the best of the 30’s and 40’s big bands swing era and combines it with the cool sophistication and swagger of the Rat Pack. They have the entire package; the “hot” playing, the smooth vocalists, and the choreographed movements of the players with their instruments. Ending their set with a smoking hot world premiere of Brian Setzer’s Hoodoo Voodoo Doll, it was a fantastic start to the evening.

La Onda Caribeña followed with the flavors of Salsa and Latin-tinged jazz.  Opening with Hector Lavoe’s and Willie Colon’s  Llego La Banda, this ensemble showed that they were the “real deal” as well. Passion, brilliance, supercharged rhythmic vitality, and beguiling vocalists make La Onda Caribeña un grupo ganador. Victor Lopez’s Salsa Caribeña, written especially for La Onda Caribeña is sure to be a signature piece for them. They closed their set and the first half with a scintillating performance of Tito Puente’s Para Los Rumberos.

After intermission, the Crescent Super Band was ready to be unleashed. Just when I thought there was no possible way the bar could get set any higher, it did! I can still scarcely believe that this group is not filled with old established “ringers”, but such incredibly talented youth. If The Voodoo Orchestra and La Onda Caribeña lit the flames, then the Crescent Super Band stoked the flames into an inferno. From the infectious drive of Tightrope, to an ultra-hip arrangement of Paul McCartney’s Can’t Buy Me Love, to Bill Readies “take-no-prisoners” arrangement of Leonard Bernstein in West Side Story Medley, to the deceptively simple charms of Harold Arlen’s Down With Love, the Crescent Super Band could do no wrong. They “burned the place down” with a jaw-dropping performance Louis Prima’s Sing Sing Sing to end the concert. The audience, already worked into a frenzy, sprang to their feet with a well-deserved and prolonged ovation.

Caleb Chapman roamed the stage like a big cat stalking his prey. This hyper-energetic leader would wander into sections of the groups to encourage his players, cajoling them into greatness, then turn to the audience with a “can you believe how amazing these kids are?” expression on his face. He’d adjust microphones for soloists, and then race back to the front to conduct. His energy was like rocket fuel for all; the personnel changes between numbers were always at high-speed, with players running on and off stage.  Not satisfied just leading these three groups, he lent his own considerable skills on saxophone as a featured soloist in Victor Young’s When I Fall in Love, which he dedicated to his parents. Now would be a good time to thank Mr. Chapman’s mother for sending him to music camp, instead of soccer camp, as Mr. Chapman related from the stage as he spoke of his parents. Whatever soccer might have lost, music more than gained.

One would be remiss in not mentioning the guest artists. Russell Schmidt joined The Crescent Super Band on the piano in the premiere of his work Percolating, which it certainly was! Wayne Bergeron, well known to the trumpet world from his days with Maynard Ferguson, was a presence with all three ensembles, and as a featured soloist in Horn of Puente, written for him by Gordon Goodwin, with La Onda Caribeña. His playing in the extreme upper register, which trumpet players call “screaming”, continues to amaze. I would imagine it would be inspiring to the young players to play alongside someone who can bust off double high C’s at will! Finally, David Sanborn joined the Crescent Super Band for an unforgettable performance of I Put a Spell on You by Edward Harcourt in an arrangement by John Clayton.  In Bang Bang, which followed, a Crescent Super Band saxophonist joined Mr. Sanborn at the stage front. What a thrill it must have been for a young sax player to jam on the stage of Carnegie Hall with the living legend David Sanborn. He more than held his own, and getting a  “high-five” from Mr. Sanborn was something this youngster will remember forever.

If I had had my trumpet with me, I would have found a way to get on stage to join in. Luckily for security, I somehow lacked the foresight to bring my instrument with me, but I cannot guarantee that if Mr. Chapman brings his groups back to New York that I will not give in to temptation.

If you ever have the opportunity to hear The Voodoo Orchestra, La Onda Caribeña, the Crescent Super Band, or any group lead by Caleb Chapman, do not hesitate to do so. Do not walk, but run to the box office and get your tickets before they sell out. It is truly the experience of a lifetime.

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by Jeffrey Williams  for New York Concert Review; New York, NY

Los Angeles Youth Orchestra in Review

Los Angeles Youth Orchestra
Russell Steinberg, artistic director and conductor
Stern Auditorium, Carnegie Hall; New York, NY
February 25th, 2013
Los Angeles Youth Orchestra

Los Angeles Youth Orchestra

 

 

The Los Angeles Youth Orchestra arrived at Carnegie Hall and performed with great passion and dedication. They not only arrived at Carnegie, but as an organization and youth orchestra, they have truly “arrived’. The obvious reason for this event was to give these young players a remarkable opportunity to perform in New York, in one of the great halls of the world. But the other purpose was to show that this organization will be a permanent mainstay in their own community. Clearly, they will be just that.

The students’ training, which involves mentoring with members of major orchestras and rehearsing with professional musicians on a weekly basis, is paying off. The orchestra includes between 80 and 90 students ranging in age from 8-18, from both public and private schools. Although a good percentage of its students do not pursue music as a profession, all of the students’ lives are greatly enhanced through the classics and new music, and they learn life lessons through the program—including giving to and feeling a sense of community, the benefits of teamwork, plus knowledge of history and the arts. Some of their alumni, like violinist Niv Ashkenazi and flutist Elizabeth Erenberg, have decided to enter the music profession, and they joined current members for this Carnegie performance. Ashkenazi joined the orchestra originally as a teenager with the dream of becoming a concert violinist and studying at Juilliard with Itzhak Perlman, and he has fulfilled both those goals. Erenberg is now a successful flutist who recently received her master’s degree from The New England Conservatory, studying with Paula Robison.

Los Angeles Youth Orchestra

Los Angeles Youth Orchestra

The program was dedicated to the memory of the orchestra’s late program director and viola coach, Eve Cohen. In addition, one of the premieres, “EveStar”, by Russell Steinberg, was composed in her honor. Cohen worked with Steinberg to help develop the future of the organization and also to convince violinists to make the relatively seamless switch to the richer, more velvety sound of the viola. The music appropriately concludes with the viola section sustaining a low G string note while violins shimmer and sparkle above–as if to say she has said goodbye but will always remain with the orchestra in spirit. The work is structured so that its sprightly middle section provides a welcome energetic contrast (kids like upbeat tempos)—as if to bask in the many happy memories Cohen provided. This section gives the work real variety, and therefore provides conductors with the opportunity to program a contrasting work that’s both dreamy and animated. No doubt, it is the kind of inspired, catchy piece that deserves many performances. The same can be said for Steinberg’s “Carnegie Overture”, which is naturally celebratory–containing freshly lyrical passages that invite warm feelings–but also pulsating with edgy syncopations and dissonance. The percussion section helps drive the work, which has a real sense of continuity and organic growth from beginning to end. The orchestra played both works with a sense of nostalgia and purpose, with focus and infectious energy. They were well-prepared, performing with rhythmical precision and tonal refinement.

Also on the program was music from Beethoven’s challenging eighth symphony and a welcome, playable William Ryden/ Stephen L. Rosenhaus arrangement of De Falla’s music: a combination of the Miller’s Dance from “The Three Cornered Hat” and the Ritual Fire Dance from “El Amor Brujo”. Steinberg exudes much joy in his conducting, and the players respond with affection and exuberance in return. His interpretations of the Beethoven and De Falla were first rate. I cannot mention everyone here, but the horn and percussion sections were particularly excellent throughout the program, with special kudos to the solo clarinet and solo bassoon players.

Carnegie Hall was packed with a nearly full house, and there was excitement in the air. The Los Angeles Youth Orchestra staff, board and generous supporters are making this orchestra a vital part of the Los Angeles community, and it was wonderful for them and the New York audience that they made such an auspicious Carnegie Hall debut. Russell Steinberg has greatly helped with building this orchestra into an invaluable treasure; a shining and everlasting star.

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by Anthony Aibel  for New York Concert Review; New York, NY

Bluegrass 57@7: The Music of Pepper Choplin, Joseph M. Martin, and Carol Barnett (DCINY) in Review

Distinguished Concerts International New York (DCINY)
Bluegrass 57@7: The Music of Pepper Choplin, Joseph M. Martin, and Carol Barnett
Distinguished Concerts Singers International, Monroe Crossing, Guest Artists
Stern Auditorium, Carnegie Hall; New York, NY
February 18, 2013
 
Distinguished Concerts International New York (DCINY): Photo credit: DCINY Production/Hiroyuki Ito

Distinguished Concerts International New York (DCINY) : Photo credit: DCINY Production/Hiroyuki Ito

 

In a concert with the title “Bluegrass 57@7” (the 57 referring to 57th Street, the location of Carnegie Hall, and the 7 referring to the 7:00PM start time), Distinguished Concerts International New York (DCINY) presented a program dedicated to the Bluegrass genre and its various sub-genres.  Featuring Bluegrass quintet Monroe Crossing, it had the makings of an interesting and educational evening.

The first half featured the vocal music of composers Pepper Choplin and Joseph M. Martin, with the able support of Monroe Crossing. I do believe the most accurate description of the selections presented would be Bluegrass Gospel. The music was mostly joyful and almost always tonally consonant. Indeed, no dodecaphonists were harmed in the making of this music.  Each composer conducted his own works. Highlights of Mr. Choplin’s pieces were the anthem-like “Circle of Love”, featuring the talented vocalist Emily Drennan, and the electrically-charged energy of “Joy on the Mountain”.  Mr. Martin’s “Coming Home” with soloist Sue Martin’s emotional vocals was touching. Then the ebullient Martin waved Choplin back to the stage, handing him the conductor’s baton as he took to the piano for his own “Great, Great Morning.” It had the feeling of a revival meeting. It brought the first half to an exuberant close.

The second half opened with selections from Monroe Crossing.  Monroe Crossing takes its name as homage to the “father of Bluegrass” Bill Monroe and the fact that his music was the common thread that brought the group together (“we crossed paths through the music of Bill Monroe”). Mandolin player Matt Thompson regaled the audience with stories about the group and its members with both humor and humility. in what was probably a well-rehearsed part of Monroe Crossing’s regular performances.  All showmanship and shtick aside, when this ensemble got down to the business of playing, they showed themselves to be not only committed to the art of Bluegrass, but also possessing some serious “chops” as well. The energy was infectious as they played four signature works.  All four pieces were crowd pleasers, but the last called “Bullet Train” was just pure fun from start to finish, and the audience roared its approval.

The final work on the program, Carol Barnett’s The World Beloved: A Bluegrass Mass, was composed with the talents of Monroe Crossing in mind. Matt Thompson told the audience about the challenges Monroe Crossing faced when first receiving their parts.  Not all Bluegrass musicians read notated music, as the art of Bluegrass is largely improvisatory, so this “jumble of dots” was a challenge that was overcome by having each player learn his part by listening to a recorded version. After much hard work, the parts were mastered, and Monroe Crossing has performed this work about “40 times”, according to Thompson. Composer Carol Barnett stated, “My highest hope is that listeners coming from one tradition, classical or bluegrass (and perhaps dubious about the other), might discover something new and wonderful in the combination”. It was an interesting thought and a worthy goal, but one also might feel that neither classical nor bluegrass enthusiasts would be fully satisfied by the end result.  The work is quite moving in sections, and the addition of Monroe Crossing added color, but it is open to debate how much “Bluegrass” was present amid some of the more sophisticated rhythms. Marisha Chamberlain’s libretto is quite provocative in sections, including an unconventional Credo, the thinly veiled 9/11/01 reference in the third verse of the ballad, and the feminization of God in the Conclusion. Conductor Nancy Menk was charged with the challenge of bringing this interesting concept to life, which she did with marked ability. Any reservations I might have had were of no concern to the audience, who responded with a prolonged standing ovation. The Gloria was repeated as an encore to the delight of the audience.  Ms. Barnett and Ms. Chamberlain joined the conductor on stage for bows.

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by Jeffrey Williams  for New York Concert Review; New York, NY

The Sounds of War and Peace (DCINY): Chapter 2- The Music of Karl Jenkins

Distinguished Concerts International New York (DCINY)
The Sounds of War and Peace: Chapter 2- The Music of Karl Jenkins
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Jonathan Griffith, Music Director; Karl Jenkins, Composer-in-Residence.
Stern Auditorium, Carnegie Hall; New York, NY
January 21, 2013
 
"The Sounds of War and Peace: Chapter 2"

“The Sounds of War and Peace: Chapter 2”

“The Sounds of War and Peace,” a two-evening event begun January 20th, continued on January 21st with Chapter 2 – The music of Karl Jenkins. The United States premiere (and second performance worldwide) of Songs of the Earth was programmed with The Armed Man: A Mass for Peace and its accompanying film (also entitled The Armed Man), and it had the promise of being a fascinating evening.

The Armed Man: A Mass for Peace is probably the most frequently performed work by Karl Jenkins; in fact, it might be one of the most frequently performed works of any contemporary classical composer. Since its premiere in April 2000, The Armed Man has been performed worldwide well over 1000 times – an average of twice a week.  Although I have heard this work on recording countless times and know it well, a live performance of The Armed Man is an experience that never ceases to move me.

The Armed Man is a thirteen-movement work for orchestra, chorus and vocal soloists. Using the 15th century French song L’homme Armé as a starting point, the theme is that the armed man must be feared – an idea that is still with us in the 21st century. Using sections of the Latin Mass, the Bible, The Mahabharata, and words from Kipling, Dryden, Tennyson, Mallory, Swift, Togi Sankichi, and Guy Wilson, this hour-long work is a journey through the preparations for battle, prayers for deliverance, the call to arms, the horrors of the battle, and its aftermath, with the final declaration that “peace is better than always war”.

The accompanying film I have always had mixed feelings about. It was premiered in its current form in Johannesburg, South Africa in September 2007. The images are powerful and often disturbing, as I am sure was the intent, to highlight the horrors of war.  Quoting Jenkins, the film “greatly enhances the musical performances and inevitably leaves the audience emotionally drained, often in tears.”  I understand Jenkins’ viewpoint, but I also believe the music is powerful enough to stand on its own without any imagery.

Conductor Jonathan Griffith knows this work well and his mastery was immediately obvious.  His steady leadership kept everything under control, even deftly tackling a small ensemble problem in the “Better is Peace” movement that could have turned into a disaster. He brought it back on-track almost instantly. The Distinguished Concerts Orchestra played, especially the percussion section, with the fire this work demands. The chorus was well-prepared and a worthy collaborator to the orchestra. It was notable that the sopranos did not crash on the jagged rocks of “Charge!” in which the high A’s have claimed countless victims. Highlights included the cello solo in the Benedictus, and Iman Shamsi Ali in his off-stage Adhaan. The four vocal soloists were all impressive in their roles, limited though they were. My one disappointment was the surprisingly timid brass in the “Charge!” This was a time for them to really come to the fore and it just did not happen. All-in-all, it was a inspired performance that was held the listener from the opening snare drum marching cadence, to the chorus singing the healing words of Revelation 21:4, to end the work.

The Vocal Ensemble Brevis, an all-female choir from Croatia took to the stage to open the second half. Led by Antoaneta Radocaj-Jakovic, they presented works from the Croatian composers Josip Hatze (1879-1959) and Slavko Zlatić (1910-1961).  Hatze’s  Ljuven Sanak  (Sweet Dreams) was especially soothing after the emotionally demanding first half of the concert. Zlatić’s Varijacije na nardonu temu (Variations on a Folk Theme) was an interesting work that deserves to better known.  It was disappointing that the program notes omitted any information about the composers, the pieces, or the ensemble. This excellent assemblage deserved its proper recognition.  As a way to bridge the two large Jenkins works, the ensemble ended with his Adiemus, which they performed with great energy and polish.

While the orchestra and chorus members returned to the stage, Griffith invited Karl Jenkins to the stage to have an impromptu discussion about his new work, Songs of the Earth. Jenkins told the audience that the work came from a commission from the Cultural Olympics. He decided to use the idea of Greek mythology as the basis for the work. Jenkins’ “invented language”, first used in the Adiemus project, was the text for Songs of the Earth. Jenkins explained this gives the composer great flexibility in tone and rhythm in the vocal writing. The six movements were selected because Jenkins found them “musically stimulating” as opposed to following any defined story lines.

Songs of the Earth is an interesting combination of the early Jenkins (Adiemus and the jazz influences from his Soft Machine days) with the larger works, such as The Armed Man, Stabat Mater, and The Peacemakers. The opening movement,” Khaos”, is aptly titled. An improvised saxophone solo plays over the pulsating rhythms of the orchestra and the chorus. It has a primordial quality suggesting the birth of the unformed universe. The second movement, “Gaia: Mother Earth” has the chorus chanting her name over and over in a worshipful manner or ritualistic adoration. “Ouranos and the Heavens”, the third movement, has an ethereal quality, with a singing violin solo and another improvised saxophone solo. The fourth movement, “Dance of the Titans”, with its ever changing meter (one bar 7/8, the next bar 3/4, then the pattern repeats), has a quirky feeling that at times boarders on the grotesque. “Tethys, Goddess of Fountains and Stream”, the fifth movement, has a flowing, water-like feel that the title suggests and features another extended saxophone solo. The final movement, “The Pit of Tartarus” has a relentless driving energy that is strongly akin to the Paradisi Gloria from Jenkins’ own Stabat Mater.

Mr. Jenkins should be pleased at the fine performance of his new work which made it a great success. Congratulations are in order for the chorus from Pennsburry, Pennsylvania (consisting of the High School Concert and Women’s Concert choirs with the Community Chorus), the Distinguished Concerts Orchestra, and conductor Griffith, who combined their considerable talents to make it all come together. Songs of the Earth should take its place with other of Mr. Jenkins’ popular works, and I’m sure his many fans will be looking forward to future performances.

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by Jeffrey Williams  for New York Concert Review; New York, NY

The Sounds of War and Peace (DCINY): Chapter 1 in Review

Distinguished Concerts International New York (DCINY)
The Sounds of War and Peace: Chapter 1
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Francisco J. Núñez, composer/conductor; Jonathan Willcocks, composer/conductor
Stern Auditorium, Carnegie Hall; New York, NY
January 20, 2013
 
DCINY

The Sounds of War and Peace: Chapter 1

 

Distinguished Concerts International New York (DCINY), well-known for themed programs, created a concert series called “The Sounds of War and Peace”.  Over two nights, each “chapter” focuses on music that expresses not only the horrors of war and its aftermath, but also the idea of peace through the idea of multi-cultural understanding and cooperation.  On January 20, 2013, Chapter 1 was performed- the first half “peace”, and after intermission, “war”.

The first half, featuring elementary and middle school-aged performers from Georgia, Connecticut, Texas, Pennsylvania, and Maryland was conducted by the multi-talented Francisco J. Núñez.  Billed in the program as “Music for Future Peacemakers”, it was a selection of works that could be best described as having the qualities of child-like innocence, rather than having any more overt “peace “message. It was more William Blake than Mohandas Gandhi.  Opening with Kayama from Adiemus: Songs of Sanctuary by Karl Jenkins, the night got off to a good start. One of Jenkins’ earlier works, it already incorporates many elements of what could be called his signature sound – an easily sung melody combined with the flavor of diverse multi-cultural influences, especially in percussion and rhythm. The “words” of this piece are invented and are not part of any recognizable language, lending it what the program notes described as a  “tribal” sound.  It was given a joyful performance.  Dôme épais, better known as the “Flower duet”, from Leo Delibes’ Lakmé followed. The soprano and mezzo-soprano soloists (whose names were not mentioned) sang this favorite with polish in an arrangement by Núñez. The chorus was challenged by the some of the upper register sections, not at all surprising considering the age of the performers.  It did seem to be a curious selection that did not really fit in with the other works or the theme of the concert itself. Three Dominican Folk Songs, as arranged by Núñez, captured the essence of nursery songs. From the playful, to the poignant, and even to the mocking, the young performers brought it all to life.  After this whimsy, a more serious selection was in order, and selections from Misa Pequeña Para Niños (A Children’s Mass) fulfilled this. Composed by Núñez in memory of his father, it is a fitting tribute written by a composer who has a great understanding of the limitations and possibilities of the child’s voice.  The three selected movements were rendered with great feeling and in conjunction with the “big sound” of the orchestra elicited from the young performers a collective sound beyond their years.  The remaining selections brought back the spirit of joy and hope. The polyrhythmic clapping in Aaron Siegel’s The Light Come Down was a highlight of the evening and brought the crowd’s roaring approval. Sesere Eeye, complete with hands waving, jumps, and leaning forward, was the signal that the fun was back, which continued in Oye by Jim Papoulis.  Even Núñez got into the act, dancing at the podium while the singers spun around in their own dance, reminiscent of Gustavo Dudamel with the Simón Bolívar Youth Orchestra.  Ending with the anthem-like Give Us Hope from Papoulis, the hearts of the audience were won over completely. It was truly touching to see the smiles and excitement on the faces of the young performers – a memory that will be with them always.

The adults took to the stage for the “war” second half- the Carnegie Hall premier of A Great and Glorious Victory, conducted by the work’s composer Jonathan Willcocks.  This work was commissioned to mark the bicentenary of the Battle of Trafalgar. Scored for tenor soloist, chorus and orchestra mirroring Haydn in his Nelson Mass, the four movements use words from the Latin Requiem Mass, the Book of Common Prayer, and contemporary accounts of the events, including Nelson’s.

This four- movement work not only commemorates the well-known battle and it’s most famous personality, Admiral Nelson, but a much lesser-known event that occurred after the battle. A terrible storm after the battle had finished threatened all the combatants and in the spirit of cooperation and brotherhood, they put their differences aside and aided the others regardless of nationality.

The first movement, Preparation, is a solemn prelude to the coming battle. One can feel the rising tensions as there are prayers for strength and hope of victory. The second, Conflict, has the chorus singing the Dies Irae while the tenor soloist is singing the words of Nelson at the same time.  It was an inspired idea that highlighted the idea of battle.  Eventually, the battle slows and the Lacrymosa quietly ends the movement. Storm, the third movement, featured the tenor soloist singing off-stage (in this case, in the balcony) from the Book of Common Prayer asking for deliverance from the terrible storm. Finally, the last movement, Reconciliation, highlights the ideal of a new peace, where the former enemies cast aside their differences. It ends with the tenor soloist singing off-stage while his voice fades to silence. The composer refers to this movement as the heart of the work.

Willcocks proved to be an effective and engaging conductor, while tenor soloist Daniel Shirley’s voice soared over the large forces with strength and clarity. The DCINY orchestra played with intensity and brought out both the savage and the sublime. The large chorus was well prepared and sang with great fervor and passion.  A Great and Glorious Victory wasn’t composed with DCINY in mind, but it is a work they could make their own.  It was a memorable performance. 

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by Jeffrey Williams  for New York Concert Review; New York, NY