Somehow, I got on an email list for this series. After having received several notices,
I finally made it to a concert on Saturday afternoon, and I’m glad I did. A very enjoyable afternoon.
The players: Eliot Bailen, cello and guitar; Thomas Kneeland, bass; Chris Parker, drums; Ted Rosenthal, piano; and Susan Rotholz, flute and vocals. So we essentially had a jazz trio (piano, bass, and drums) with cello and flute. Myriad possibilities executed very well. The set kicked off with Afro, by Paquito D’Rivera (b. 1948). It opened with solo cello that was then joined by bass, flute, and piano. There were many short, rhythmic phrases bouncing back and forth, and it was very bright and bouncy overall. Three Duke Ellington (1899–1974) pieces were on tap next. In a Sentimental Mood, for cello and piano (but the other players crept in from time to time) was slightly bluesy and relaxing. It felt like being in a classy nightclub. In a Mellow Tone, for jazz trio, was up tempo, but not too frantic, with some classic tossing of the melody back and forth, and with the bass player acquitting himself very well. Warm Valley, for flute, cello, and jazz trio, was laid back (according to the cellist, in spoken notes from the stage), and adding the flute and cello back in made for a nice, rich sound. All three were arranged by Jed(?—it was wrong in the program, announced from the stage, and even told to me by a concertgoer after the performance, but I’m danged if I can find where I wrote it down) Distler, and nice arrangements they were.
A mini folk segment followed. Never Never Land, by Jule Styne (1905–1994), with lyrics by Comden & Green, was quaintly sung by Ms. Rotholz, accompanied by Mr. Bailen on guitar. And yes, the other players slipped in from time to time as well. Turn, Turn, Turn, by Pete Seeger (1919–2014) followed, as a sing-along involving the audience as performers. This is not my favorite situation, and the slightly uncomfortable result was pretty much borne out. The folk segment was, for me, the least effective.
I Want to Be Happy, by Vincent Youmans (1898–1946) was next, in a manic-frantic-but-still-interesting treatment, with a pleasant, gentle waltz section that then jumped right back into manic-frantic. Turkish Tophie, by Chris Parker & Roger Blanc (Chris being the afternoon’s drummer/composer and Tophie being a reference to his name, Christopher) was also in the slightly rushed, up tempo style. I was reminded of “crossing the desert”–style jazz, with some very nice melodies.
Another performer/composer selection followed: Jazzing Up the Classics, by
Ted Rosenthal. Schumann’s Traumerai had a jazzy solo piano opening followed by the tune itself laid out in a straightforward manner for the cello, with piano riff accompaniments. A jazz trio section followed, in a still very accessible style. A lightly jazzed up version of Greensleeves followed. When I say “accessible,” I mean that the music has been given a jazz treatment, but not so much that the tune or the treatment itself is overly distorted.
The concert closed out with another Ted Rosenthal number, Sunny Side Up, for flute, cello, and jazz trio. It had a Latin flavor, and was nice, brisk fun. All in all, this was a well-thought-out and well executed program.
Just a brief note, here. This new (to me) venue was a lot brighter than most; my note taking resulted in a couple of audience members asking me about it afterward. I briefly recounted how ConcertMeister came about, as a result of me needing to find ways to spend time, on my own, outside of my apartment. So I scoped out free and low-cost concerts and was eventually convinced that sharing my views might be interesting. It’s possible that I have two new readers out there. If so, please feel free to add comments, if you’re so inclined. I also shared my insights on free concert venues with them. Maybe I’ll see them at future concerts.
ConcertMeister
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