marcello Posted March 27, 2005 Report Posted March 27, 2005 I heard Matia Scheider's Orch. this last Thursday and Friday at the Jazz Standard. The band was really wonderful to hear live with that beautiful music and great soloists. Many of the themes that I heard were of a spanish influence of many parts and time changes; most building to a great cresendo before ending. Most memorable were: a chorus for chorus exchange between Gary Versace on accordian and Frank Kimbrough, great flowing, trumpet solos by Greg Gisbert, the driving tenor of Donny McCaskin, "the seventh wonder of the world" ( Maria's words) Scott Robinson on baritone, a firery Ingred Jensen, and Jay Anderson (on bass) and Clarence Penn ( on Drums) holding the arraingements together and moving them along. FRank Kimbrough told me afterwards: "It's not a orhcestra; it's a ORGANISM!" Quote
James Posted March 27, 2005 Report Posted March 27, 2005 A friend of mine told me that Maria's orchestra will head west for a tour in a few months. Can't wait. Happy for you, marcello, that you were able to catch this amazing orchestra. Frank's quote is right on the money! Quote
alankin Posted March 27, 2005 Report Posted March 27, 2005 By accident, I caught the Maria Schneider Jazz Orchestra on "Jazz at Lincoln Center Radio with Ed Bradley" last night. Worth checking out if the show's broadcast in your area. (Some of the shows are available in streaming audio a few weeks after broadcast.) Quote
marcello Posted March 27, 2005 Author Report Posted March 27, 2005 (edited) Re: Tour; from Frank Kimbrough's website: June 2005 21 – w/ Maria Schneider Orchestra – World Financial Center, NYC 24 – w/ Maria Schneider Orchestra – Great Barrington, MA November 4 – 19 European Tour w/ Maria Schneider Orchestra 2006 January 20 – w/ Maria Schneider Orchestra – Burlington, VT 21 – w/ Maria Schneider Orchestra – Hanover, NH 22 – w/ Maria Schneider Orchestra – Portsmouth, NH 27 – w/ Maria Schneider Orchestra – Penn State U. 28 – w/ Maria Schneider Orchestra – Erie, PA 29 – w/ Maria Schneider Orchestra – Buffalo, NY February 3 – 8 – w/ Maria Schneider Orchestra Tour 8 – w/ Maria Schneider Orchestra – Disney Concert Hall, Los Angeles, CA 24 - 28 – w/ Maria Schnieder Orchestra tour: dates to be announced in Austin, TX; Windom, MN; Minneapolis, MN; Columbia, MO March 11 – w/ Maria Schneider Orchestra – U Mass Amherst April 6 - 9 – w/ Maria Schneider Orchestra – Pittsburgh, PA 22 – w/ Maria Schnieder Orchestra – Greeley, CO 28 – w/ Maria Schneider Orchestra – Reno, NV Frank Kimbrough's web link Edited March 27, 2005 by marcello Quote
Michael Fitzgerald Posted March 28, 2005 Report Posted March 28, 2005 Bugs. That is the answer, in case any of you were wondering, to the question "As a child, what did Scott Robinson bring to school for show-and-tell." And if you weren't wondering, at least Maria Schneider was. Apparently at least some of her recent free time was spent imagining what her bandmembers were like as schoolkids. There were several interesting tidbits of information to be gleaned at the two Sunday shows at the Jazz Standard - capacity crowd for this final night of four, btw. Another is that Maria thinks of the band as "meteors" crossing the night sky (and thinks of Robinson instead as a "satellite"). Having last seen this band six months ago, nearly to the day (and nearly to the seat), I'll point out some things that were different. Comments from last time are here: http://www.organissimo.org/forum/index.php...maria+schneider One big change is that in September, the new album was not yet a Grammy-winner! There was a lot of excitement about that. There were personnel alterations compared to the September gig - vocalist Luciana Souza was not present and bassist Jay Anderson was replaced (for this night only, it seems) by Scott Colley. Scott Robinson has added two new toys to his remarkable arsenal. The first is a replacement clarinet. His usual one was a very distinctive brown wood model. He's now using a double-wall metal clarinet - I had never seen such a thing before. It's thicker than the standard metal clarinet. So now Scott's gone completely metal - soprano, bass, and contrabass clarinets. The second new toy is a contrabass sarrusophone. He used this during Bulería, Soleá Y Rumba - in addition to the contrabass clarinet. Scott also had a battery-powered portable oscillator with him, but it wasn't used on a tune, just as a gag when he was introduced. Last September, George Flynn was introduced as playing contrabass trombone, but he told me he didn't play it - it was sitting backstage. Well, this time it was used. Man, that's a big mother. And Larry Farrell is now playing occasional bass trombone, so at a few points there were two bass trombones going. Larry soloed on bass trombone on El Viento. Set One - Journey Home - Tim Ries (alto), Rock Ciccarone Tork's Cafe - Ben Monder, Keith O'Quinn, Scott Robinson (baritone) El Viento - Ben Monder, Larry Farrell (bass trombone), Ingrid Jensen Bulería, Soleá Y Rumba - Donny McCaslin (tenor), Greg Gisbert (flugelhorn) Set Two - Concert In The Garden - Ben Monder, Frank Kimbrough, Gary Versace Three Romances: 1. Choro Dançado - Rich Perry (tenor) 2. Pas De Deux - Ingrid Jensen (flugelhorn), Charles Pillow (soprano) 3. Dança Illusória - Frank Kimbrough, Larry Farrell Hang Gliding - Greg Gisbert (flugelhorn), Donny McCaslin (tenor) The band was exceptional in their vertical precision and articulation on Journey Home. Not sure why Gonzalo Grau didn't play cajon on this as there is a cajon part on the recorded version. He only popped onstage for Bulería, Soleá Y Rumba and then left after the first set. Tork's Cafe is an unrecorded piece that I had never heard before. It was described as a "landscape" that was written as an homage to a truck stop in Minnesota where Maria worked as a waitress. We were tantalized with the possibility of a lowdown story involving prostitution, but alas, it was not to be (this was Easter Sunday, after all). The soloists arrived in order of "seediness" - Ben Monder, playing distortion guitar at exceedingly soft dynamic levels, then Keith O'Quinn, then the seediest of all - Scott Robinson on baritone, who was phenomenal, spurred on by displays of exuberance from Maria and his bandmates as well as the audience. El Viento is normally a feature for the incredible Greg Gisbert, but (probably because Gisbert was about to be featured on the last section of Bulería, Soleá Y Rumba), the trumpet solo was given to Ingrid Jensen, who started off using Harmon mute as a plunger. I far prefer Gisbert. Jensen lacked the power to really sing out over top of the band at the climax. The start of the piece again featured remarkable control by the band, with much intensity maintained at a soft volume. Scott Colley was subbing and on Concert In The Garden needed a few cues to keep straight. Mostly wonderful, and he added a different personality to things, playing a bit more actively than Jay Anderson. This piece really missed the vocals. Kimbrough was taking liberties with the piano interlude going into Dança Illusória - when last I heard this, the lead-in was just like the record, but now it's gotten freer with some different voicings. I think this piece was the most comfortable for Colley. Hang Gliding had a very different flavor during McCaslin's solo - he really was doing some high energy things, which I had never heard in this context. The rhythm section contributed. I still find the methodical approach that Rick Margitza used on the recording to really work best for this tune. There was quite a bit of odd noodling going on - high accordion parts particularly. This climaxed in the Pas De Deux where trombone, soprano, flugelhorn, and percussion were all on this chattering kind of thing. That piece had some absolutely KILLER drums. Clarence Penn was much more "on" compared to last September. The dynamic range of this band is remarkable. That's what really stood out to me about this evening - they were so quiet and so loud. Otherwise it had some faults - at times it wasn't as tight as in September (there was some hesitation before the start of the final Rumba and Luciana Souza was again sorely missed there), the solos maybe weren't as strong, but it was still a wonderful evening. The Band - Tim Ries - alto saxophone, soprano saxophone, flute, alto flute, clarinet Charles Pillow - alto saxophone, soprano saxophone, flute, alto flute, clarinet, oboe, english horn Rich Perry - tenor saxophone, flute Donny McCaslin - tenor saxophone, soprano saxophone, clarinet, flute Scott Robinson - baritone saxophone, clarinet, bass clarinet, contrabass clarinet, contrabass sarrusophone Greg Gisbert, Ingrid Jensen, Tony Kadleck, Laurie Frink - trumpet, flugelhorn Keith O'Quinn, Rock Ciccarone - trombone Larry Farrell - trombone, bass trombone George Flynn - bass trombone, contrabass trombone Ben Monder - guitar Frank Kimbrough - piano Scott Colley - bass Clarence Penn - drums, percussion Gary Versace - accordion Gonzalo Grau - cajon (Bulería, Soleá Y Rumba only) Maria Schneider - conductor Mike P.S. - forgot about the well-dressed ranking - Clarence Penn was announced as winner, with Larry Farrell as runner-up. However, Scott Robinson voiced an objection and noted that his wife makes all his clothes (which were quite unique, with planets and stars on his shirt). So there may be more to be heard on this subject. Maria was in great spirits, particularly during the second set - these guys are having fun!!! Also - apparently there was a big article in a recent newspaper (not the Wall Street Journal one mentioned elsewhere here). I thought it was today's Newark Star-Ledger from the look, but I checked at home and didn't find anything. Title was something about "finding her audience" - if anyone knows, please tell me. Thanks! Quote
James Posted March 28, 2005 Report Posted March 28, 2005 Thanks for the tour schedule, marcello. I guess the orchestra is coming my way later than I recalled from my conversation with my buddy. Obviously, wishful thinking skewed my recollection. Quote
James Posted March 28, 2005 Report Posted March 28, 2005 (And thanks for the fine review, Michael) Quote
marcello Posted March 28, 2005 Author Report Posted March 28, 2005 A thanks from me also, Mike. It seems that all of the shows were sell outs. A well deserved sucess for Maria and the Orchestra. There was some subsituting and additions during the three sets I heard, also. Vocalist Luciana Souza sang on Sunday ( but not Saturday) on one song, Steve Wilson played alto and flute on two of the three sets and then was spelled by Tim Ries. Here is a photo of Scott Robinson with one of his shirts! Quote
A Lark Ascending Posted March 28, 2005 Report Posted March 28, 2005 A European tour is required, please! Quote
alankin Posted March 28, 2005 Report Posted March 28, 2005 Three stops in PA, but none in Philly! Something must be done... Quote
fkimbrough Posted March 28, 2005 Report Posted March 28, 2005 Maria's concert dates from my website (posted by Marcello) are dates I'm holding, but I'm not absolutely sure they're all confirmed. I may have been premature in posting them, as tour dates are still being worked out. Please make sure to check Maria's site for complete information on all her activities. Bev, she told me last night that she's working on London - maybe we'll see you in November - hope so. Quote
A Lark Ascending Posted March 28, 2005 Report Posted March 28, 2005 Thanks, Frank. That sounds like the London Jazz Festival! Hope it's a Saturday!!!! Quote
.:.impossible Posted March 28, 2005 Report Posted March 28, 2005 I was in town, but the girls I was hanging with weren't interested in going to hear any high priced jazz, which was a real bummer. I was very much looking forward to hearing this orchestra. I couldn't get them interested in Gunther Hampel, Perry Robinson, Lou Grassi either and it was only $10! Damnit. I really would have loved that too! We ended up in Williamsburgh listening to a singer/songwriter rock quintet featuring a cellist. It was actually ok once I stopped thinking about all of the great music elsewhere in the vicinity that I was missing. Thanks for the reviews! Quote
Larry Kart Posted March 29, 2005 Report Posted March 29, 2005 It's generally agreed that Gil Evans (one of Schneider's models/mentors) was not a great melodist; thus most of Evans' most successful works are settings of compositions by others. Having now heard all of Schneider's recordings, it seems to me that her writing, like Evans', lacks a strong melodic profile and that the perhaps corresponding weight she places on essentially coloristic gestures is on the rise. I'm not saying that the textures of her work aren't novel and subtle; it's that I find it hard to hear much formal "build" or coherence in pieces that tend to last ten minutes or more and that are essentially without (but tell me I'm wrong here, if I am) significant melodic profile or development. In this regard, I think a comparison to one of Schneider's other model/mentors, Bob Brookmeyer, is revealing -- the latterday Brookmeyer the composer having a gift for thematic mutation that almost makes him the jazz equivalent of Sibelius. Quote
Larry Kart Posted March 29, 2005 Report Posted March 29, 2005 P.S. Let me modify that a bit. Of course, there's coherence of mood in the pieces on "Concert in the Garden"; what I don't heard is much coherence of working/moving parts, a feeling that formally/structurally we're really going somewhere. The weather is nice, but it pretty much stays the same. Quote
Michael Fitzgerald Posted March 29, 2005 Report Posted March 29, 2005 I must not understand what you're saying, because "the weather stays the same" is so contradictory to what I am hearing in a piece like El Viento or Hang Gliding or the Pas De Deux or Dança Illusória - those pieces evolve and when they start you don't know how they're going to finish - to me, that's what build is about. Regarding melodies - I was able to find wonderful inner parts when listening last night. These are almost never written in block style with a chord voiced down from the top note, across the trumpet section. One person might have a little melody to play that isn't doubled anywhere. I wonder if perhaps that lack of the sectional approach is what you are considering to be a lack of melody? Less complex arrangers might have fewer melodic ideas that are made stronger through block voicing (is this your "coherence of working/moving parts"?). I hear a ton of melodies all working together to create the overall effect. Mike Quote
marcello Posted March 29, 2005 Author Report Posted March 29, 2005 (edited) what I don't heard is much coherence of working/moving parts, a feeling that formally/structurally we're really going somewhere. I hear what you're trying to say Larry; but this is just the point of her individuality; her art. What was facinating about what I heard was not just the ensembles but the way she pairs solists within the pieces and then moved on ( or rather forward) with her orchestrations. Her music is not so obvious or thematic to the ear, for sure, and dosn't conclude in conventional ( and themes don't always return ) systems. She's different, for sure. Now I just read Mike's post and once again, he says it better that I ! Edited March 29, 2005 by marcello Quote
Larry Kart Posted March 29, 2005 Report Posted March 29, 2005 Mike: I agree up to a point about "Hang Gliding"and "El Viento" and other pre-"Concert in the Garden" Schneider pieces -- it's on the "Concert in a Garden" album that I hear the melodic element in her work getting much more watery. I hear lots of "inner parts" in Schnieder's writing too; what I hear much less of there are what might be called "outer parts" -- those inner parts (again I'm thinking mostly of the most recent album) sound to me like a lot of essentially coloristic dial-twisting within a fairly same-y series of Flamenco-ish gestures, i.e. I don't hear one segment's inner parts leading to/building to another segment's inner parts, and again I don't hear real outer parts; the "climaxes," such as they are, are essentially signaled by shifts in dynamics, and for me that makes them not very convincing. Now I'll admit that to my ear just about any Flamenco-ish coloration is so strong in itself and so unamenable to long-range harmonic development (because it's so inherently vampish) that it tends to say nothing but "Flamenco!" Does Brookmeyer write in "block style" on "Celebration" or "Tick-Tock" or "Ceremony"? Does Jim McNeely on "Absolution," "Lickety Split" or "Rough Night"? It's with works like that in mind that I find myself thinking that Schneider's writing is a bit lacking in melodic spine and harmonic grit. Quote
Michael Fitzgerald Posted March 29, 2005 Report Posted March 29, 2005 No, Brookmeyer is not a block type of writer - I think we appreciate a lot of the same things, but I seem to be finding these in the music of Maria Schneider (who tends to connect with me moreso than Brookmeyer, fwiw). There are so many subtleties - which is why I got the scores for two pieces. The entire Bulería makes constant use of two melodic ideas: a simple descending scale segment A=(C B A G etc.) and another one that kind of leapfrogs B=(G A F G E F) - I do have the score in front of me, so it's easier for me to see. A: the alto flute at m.5, tpts 34-41 (tbns play the inverse of A at 34) and then A is used in a rhythmic accelerando, from quarter notes to eighth notes, to triplets; ww 36; ww 46; oboe 50; fl 58; fl/ts/tbn 79; alto fl/ts 84; the inverse shows up in the bass at 42 B: flute/english horn/tpt/gtr at m.19; ts 27; tbn 31; ww/tpt 33; ww 42; tpt 44; ts/bcl 74 I just played through a little of this section and discovered things I had never known about - at m.19, the B idea is voiced as a third on top of a seventh - which makes a ninth on the outside. It's basically three consecutive scale degrees but with the second one down an octave - a very dissonant sound, but it doesn't have a grating sound in this context, perhaps because of how the bass is set up. I doubt I would ever find this stuff without scouring the score. My ears are only my own, so I can't really say whether you're missing something or what, but in my judgment there's plenty of interest going on here in terms of melodic motives/development and in terms of harmony. Mike Quote
AllenLowe Posted March 31, 2005 Report Posted March 31, 2005 Schneider's orchestral music is one of those things that (with all due respect to the incredibly good muscianship exhibited) I've tried to like but find static, in ways that seem to be unintended by the composer. It just sounds too...conventional to me, too earthbound, lacking in sonic ambition. It sounds too inhibited - and I know that one might say that this is a kind of restraint intended by the composer. Maybe so, but whereas I find Gil Evans's use of static sonorities to be unpredictable and full of ethereal beauty, I find Schneider's to be just...static and anti-climactic - Quote
AllenLowe Posted April 2, 2005 Report Posted April 2, 2005 well, I guess everybody agrees with me... Quote
jazzbo Posted April 3, 2005 Report Posted April 3, 2005 (edited) That dosn't seem to be how it hits ME. Especially "Concert in the Garden" which doesn't seem conventional to me at all. "Lacking in sonic ambition?" A lot of things that are sonically ambitiious I don't necessarily enjoy, so this is not a fault for me if true. Sure there may be nothing earthshattering and groundbreaking there. But there is real, deep beauty in the sound and playing that I find very moving. It's a personal response; I can understand if another didn't have it. I wonder how the March 28 Jazz at Lincoln Center broadcast was. I'm pretty sure I'll get to hear it soon. Probably was an experience! Edited April 3, 2005 by jazzbo Quote
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