If you're from Santa Cruz , you've probably heard or seen the name Le Boeuf around town. Older generations know Bernie, the UCSC marine biologist. The younger crowd, including the next generation not generally known for digging the contemporary jazz scene, knows Pascal and Remy, the twins who revolutionized the genre and now command the rich Manhattan jazz culture for their age group. No, I'm not exaggerating, though if you ask them they'll probably modestly deny the claim.
Central Coasters who don't already know the legacy the twins are quickly building can see what the Monterey County Weekly has to say. They played at Monterey Live over the weekend as part of their U.S. and Canada tour (what other 21-year-olds can hope to tour two countries and gather sizeable audiences, I ask you?), but if you missed them, do not despair; they're coming to your area very, very soon. Here's the schedule:
Aug. 26: The Jazzschool, 2087 Addison Ave., Berkeley. 8 p.m.
Aug. 28: Jazz at Pearl's, 256 Columbus Ave., San Francisco. 8 p.m.
Aug. 31: Michael's on Main, 2591 Main St., Soquel. Noon.
Monday, August 25, 2008
Tuesday, August 12, 2008
Keeping it Old School
Okay, all together now: sing the opening line of "The Sound of Music" with your best mock-operatic voice.
Good. Now that we've gotten that out of the way, I have a confession to make: when I was a kid, I watched this 1966 Rodgers and Hammerstein classic so many times that the VHS tapes nearly gave out on me. (Yes, tapes. The movie is so darn long, the first tape ends with "Intermission," not "The End.")
I'm sure I'm not alone in my love and nostalgia for the musical, which is, I admit, too nauseatingly saccharine to feel like a true account of the von Trapp family's story. (The Monterey County Herald put it more delicately, calling the musical's version of Maria von Trapp's accounts a "basically true" adaptation. Kudos for subtlety.) In my view, it's loved by so many people because, in a way, it spans many genres. All at once, it's a good chick flick, a family favorite, a historical documentary with interesting commentary and an excuse to hum along with catchy tunes. What else do I need from a movie?
Anyone who agrees should check out Western Stage's production of "The Sound of Music" this weekend or next; I hear it's not too shabby but for the occasional imbalance of orchestra and voices.
When: Fridays and Saturdays at 8pm; Sundays at 2pm through Aug. 23
Where: Western Stage at Hartnell College, 156 Homestead Ave. in Salinas
Cost: $30 for general admission; $20 for seniors, children and military
Tickets & Info: (831) 375-2111 or www.westernstage.com
Good. Now that we've gotten that out of the way, I have a confession to make: when I was a kid, I watched this 1966 Rodgers and Hammerstein classic so many times that the VHS tapes nearly gave out on me. (Yes, tapes. The movie is so darn long, the first tape ends with "Intermission," not "The End.")
I'm sure I'm not alone in my love and nostalgia for the musical, which is, I admit, too nauseatingly saccharine to feel like a true account of the von Trapp family's story. (The Monterey County Herald put it more delicately, calling the musical's version of Maria von Trapp's accounts a "basically true" adaptation. Kudos for subtlety.) In my view, it's loved by so many people because, in a way, it spans many genres. All at once, it's a good chick flick, a family favorite, a historical documentary with interesting commentary and an excuse to hum along with catchy tunes. What else do I need from a movie?
Anyone who agrees should check out Western Stage's production of "The Sound of Music" this weekend or next; I hear it's not too shabby but for the occasional imbalance of orchestra and voices.
When: Fridays and Saturdays at 8pm; Sundays at 2pm through Aug. 23
Where: Western Stage at Hartnell College, 156 Homestead Ave. in Salinas
Cost: $30 for general admission; $20 for seniors, children and military
Tickets & Info: (831) 375-2111 or www.westernstage.com
Wednesday, August 6, 2008
Old Favorites at Contemporary Classic
Even when I was in high school and had no idea I'd later want to become a classical music critic, I still paid attention to Phyllis Rosenblum's too-seldom-written classical columns in the Santa Cruz Sentinel. The content wasn't intended to be editorial in any way, nor did it strive for any type of thesis--its sole purpose was to alert people to the various classical concerts that were coming up in the county. It was little more than a comprehensive list with one- or two-sentence descriptors; nevertheless, I'm sure the unusually large crowd of classical music appreciators in Santa Cruz found the columns helpful.
Whether Rosenblum retired or was cut from the list of contributors due to the Sentinel's recent financial constraints *grumble grumble*, her newspaper column is no more. But thanks to the Cabrillo Festival of Contemporary Music, which began last week, we at least know she's still around and she still has something to do with the classical music scene. She spoke yesterday evening (d'oh! I'm a bad blogger!) as part of the festival's series of free talks.
The mere fact that she was there and that she supports contemporary classical music is promising to me. It means that the strange noises coming from the new wave of composers isn't lost on past generations who we picture as clinging on to their old Lizst LPs and denying that anything as good as that has happened since his era--and it also means the faces of Santa Cruz are clinging onto the genre for dear life, showing their support so that the beloved culture won't die out.
More about the festival: go to www.cabrillomusic.org
Whether Rosenblum retired or was cut from the list of contributors due to the Sentinel's recent financial constraints *grumble grumble*, her newspaper column is no more. But thanks to the Cabrillo Festival of Contemporary Music, which began last week, we at least know she's still around and she still has something to do with the classical music scene. She spoke yesterday evening (d'oh! I'm a bad blogger!) as part of the festival's series of free talks.
The mere fact that she was there and that she supports contemporary classical music is promising to me. It means that the strange noises coming from the new wave of composers isn't lost on past generations who we picture as clinging on to their old Lizst LPs and denying that anything as good as that has happened since his era--and it also means the faces of Santa Cruz are clinging onto the genre for dear life, showing their support so that the beloved culture won't die out.
More about the festival: go to www.cabrillomusic.org
Monday, August 4, 2008
Nothing Beats Bach
Love it or hate it, there's no denying that J.S. Bach's music is genius. Its styles, its motifs, were the first of its kind. The roughly 1.2 gazillion pieces Bach wrote served as the foundation for the classical compositions of generations of men (and rarely-spoken-of women) after him. Bach deserves the utmost respect for his accomplishments.
That said, I firmly believe that nothing one hears live will sound half as moving on a recording. It's hard to listen to Bach on a CD or on KBOQ and feel as he felt when he composed. But when you're sitting feet away from world-class musicians and you can actually see their bows moving up and down steadily (or frenetically, depending on the piece), you don't have to resign yourself to "respecting" J.S. Bach. You can actually feel the emotions behind the notes on the page.
I know it's a splurge, but I'd urge anyone who hasn't yet gone to get over to the Carmel Bach Festival while it's still running. The entire festival conclcudes Aug. 9, this Saturday, but for all intensive purposes, it really ends Aug. 8--unless you're one of the lucky few who hold $200 tickets to the last evening's events.
Tuesday's concert is the much-talked-about Aha! Concerto. I'm not sure whether people in three counties have heard about it more than the others because it has a funny name or because it's a great concert, but with the array of works by German composers on the menu, it's bound to at least be interesting.
Wednesday evening's Songs of Solace concert offers a chance to break away from the traditional concert-hall setting for something a little more sacred: the Carmel Mission Basilica. The sounds of Bach, Schutz, Scheidt and Distler reverberate off the walls far more dramatically than they would at the Sunset Center, magnifying the drama and emotion of the calming pieces.
Audiences who prefer to enjoy the beauty of melodies rather than analyze them would certainly enjoy the Brandenburg Concertos Thursday night. It's classic Bach, but it also foreshadows the pretty, emotion-centric music of the later Romantic era.
Friday night's concert, Symphonic Bridges, serves as a good survey of post-Bach classical music and illustrates the huge influence Bach had on the big names that followed his: Mozart, Haydn, Beethoven.
All concerts are at 8 p.m. at the Sunset Theater in Carmel, with the exception of Wednesday night. Tickets are between $20 (students and active military) and $60 (general admission). Go to www.bachfestival.org or call (831) 624-2046.
That said, I firmly believe that nothing one hears live will sound half as moving on a recording. It's hard to listen to Bach on a CD or on KBOQ and feel as he felt when he composed. But when you're sitting feet away from world-class musicians and you can actually see their bows moving up and down steadily (or frenetically, depending on the piece), you don't have to resign yourself to "respecting" J.S. Bach. You can actually feel the emotions behind the notes on the page.
I know it's a splurge, but I'd urge anyone who hasn't yet gone to get over to the Carmel Bach Festival while it's still running. The entire festival conclcudes Aug. 9, this Saturday, but for all intensive purposes, it really ends Aug. 8--unless you're one of the lucky few who hold $200 tickets to the last evening's events.
Tuesday's concert is the much-talked-about Aha! Concerto. I'm not sure whether people in three counties have heard about it more than the others because it has a funny name or because it's a great concert, but with the array of works by German composers on the menu, it's bound to at least be interesting.
Wednesday evening's Songs of Solace concert offers a chance to break away from the traditional concert-hall setting for something a little more sacred: the Carmel Mission Basilica. The sounds of Bach, Schutz, Scheidt and Distler reverberate off the walls far more dramatically than they would at the Sunset Center, magnifying the drama and emotion of the calming pieces.
Audiences who prefer to enjoy the beauty of melodies rather than analyze them would certainly enjoy the Brandenburg Concertos Thursday night. It's classic Bach, but it also foreshadows the pretty, emotion-centric music of the later Romantic era.
Friday night's concert, Symphonic Bridges, serves as a good survey of post-Bach classical music and illustrates the huge influence Bach had on the big names that followed his: Mozart, Haydn, Beethoven.
All concerts are at 8 p.m. at the Sunset Theater in Carmel, with the exception of Wednesday night. Tickets are between $20 (students and active military) and $60 (general admission). Go to www.bachfestival.org or call (831) 624-2046.
Wednesday, July 30, 2008
The Best of Both Worlds
It's here! It's back! It's the latest and greatest in interpretations of Shakespeare plays--Shakespeare Santa Cruz!!
Okay, so it hasn't exactly just arrived. The festival commenced its 2008 season July 15, almost two weeks ago...but to me, this summer's season won't begin until my two favorite things in arts and entertainment intersect: my love of classical music and of all things Santa Cruz. Now technically "Bach at Leipzig," one of the four plays at SSC, illustrates said intersection--and it opened July 18. In my mind, however, the intersection won't be complete until Aug. 6, when a group of true Bach experts precedes the performance concerning the composer.
A little Bach-ground: "Bach at Leipzig" is a farce concerning a bunch of German organists who all have one thing in common: they desperately want to become organmaster at Thomaskirche in Leipzig, an esteemed position that could catapult any musician's career. They're willing to pull out all the stops--er, no pun intended--to get the gig. The play is set in 1722, during Bach's lifetime.
So what's different about the Aug. 6 show? It is preceded by a concert of pieces composed by the play's namesake. I think it was a fantastic idea to get the Palo Alto Players over the hill for this pre-show concert, because it will remain short (one can only listen to so much Bach before requiring some Romantic-era music to balance it out) and it will also give perspective to some of the struggles the characters face: the discord between religion and music (should composers sacrifice their potential for the money they make writing commissioned pieces for the Church?) and the question of how low one should stoop for a respected position before it isn't worth the antics anymore.
So. August 6, 6:30 p.m., mainstage theatre lobby. The concert is free; play tickets range from $12 to $40. Go to www.shakespearesantacruz.org.
Okay, so it hasn't exactly just arrived. The festival commenced its 2008 season July 15, almost two weeks ago...but to me, this summer's season won't begin until my two favorite things in arts and entertainment intersect: my love of classical music and of all things Santa Cruz. Now technically "Bach at Leipzig," one of the four plays at SSC, illustrates said intersection--and it opened July 18. In my mind, however, the intersection won't be complete until Aug. 6, when a group of true Bach experts precedes the performance concerning the composer.
A little Bach-ground: "Bach at Leipzig" is a farce concerning a bunch of German organists who all have one thing in common: they desperately want to become organmaster at Thomaskirche in Leipzig, an esteemed position that could catapult any musician's career. They're willing to pull out all the stops--er, no pun intended--to get the gig. The play is set in 1722, during Bach's lifetime.
So what's different about the Aug. 6 show? It is preceded by a concert of pieces composed by the play's namesake. I think it was a fantastic idea to get the Palo Alto Players over the hill for this pre-show concert, because it will remain short (one can only listen to so much Bach before requiring some Romantic-era music to balance it out) and it will also give perspective to some of the struggles the characters face: the discord between religion and music (should composers sacrifice their potential for the money they make writing commissioned pieces for the Church?) and the question of how low one should stoop for a respected position before it isn't worth the antics anymore.
So. August 6, 6:30 p.m., mainstage theatre lobby. The concert is free; play tickets range from $12 to $40. Go to www.shakespearesantacruz.org.
Friday, July 25, 2008
Eine Kleine Summermusik
It may be because I've never lived in the SF Bay Area, but somehow the Midsummer Mozart Festival always escaped my notice. But not this time.
I've always wondered why there were so many Bach festivals around and never any annual celebrations of Mozart's greatness. I respect the genius of Bach, but between you and me, I've always liked listening to Mozart better. Imagine my delight, then, at finding out about such a Romantic-era indulgence as this one, and so close to home!
The Oakland Tribune made last week's concert at the lovely Santa Clara Mission sound pretty spectacular, and I'm sorry to have missed it. But there are still plenty of opportunities to catch the program, which includes a performance of the Prague Symphony (K. 504, one of my favorites), including at the Herbst Theatre in the city July 25 and at First Congregational Church in Berkeley July 27. Tickets range from $30 to $60--ouch. I guess that's a sacrifice I'll have to make to hear my beloved Amadeus.
Visit the festival's web site for more information.
I've always wondered why there were so many Bach festivals around and never any annual celebrations of Mozart's greatness. I respect the genius of Bach, but between you and me, I've always liked listening to Mozart better. Imagine my delight, then, at finding out about such a Romantic-era indulgence as this one, and so close to home!
The Oakland Tribune made last week's concert at the lovely Santa Clara Mission sound pretty spectacular, and I'm sorry to have missed it. But there are still plenty of opportunities to catch the program, which includes a performance of the Prague Symphony (K. 504, one of my favorites), including at the Herbst Theatre in the city July 25 and at First Congregational Church in Berkeley July 27. Tickets range from $30 to $60--ouch. I guess that's a sacrifice I'll have to make to hear my beloved Amadeus.
Visit the festival's web site for more information.
Thursday, July 17, 2008
What is art?
I forgot to mention it, but on the last page of last Friday's Datebook section in the San Francisco Chronicle was a series of letters readers wrote in response to a critic's take on the previously-blogged-about Dale Chihuly exhibit at the de Young. I'm glad the Chron published it, because I'm pretty sure it sparked hours-long debates in households bay-wide.
Here's the gist: the critic who reviewed the exhibit slammed Chihuly and the de Young for choosing to feature his work; in his opinion, the museum didn't choose to recognize the best modern art there is to see but rather the most colorful. He said art has to give the audience a message; it has to be intellectually stimulating and reflect on society or something equally intelligent and if it doesn't, it errs on the side of knick-knacks.
To me, this review shows we've lost sight of what art is and why it exists. Time and time again, we hear people applaud movies, music and works of art that show us something profound and/or hidden about our society. But what about stuff that just makes us feel good?
Art exists because it communicates things we can't communicate verbally, so if you can discuss art and conclude exactly what it means verbally, it's not great art. The best art is the kind that inexplicably stirs something inside us, that makes us feel something we can't explain. Claude Monet does that to some, and so does Vincent van Gogh, but neither of them were trying to send us a deeper message--they just wanted to paint the way they felt or saw. Why, then, do we call them artists and not Chihuly, who creates stirring feelings and scenes with glass-blown forms? Why do modern artists have to pack a lecture into a piece of art?
Answer: they don't. Chihuly's work is art because it makes people feel.
Here's the gist: the critic who reviewed the exhibit slammed Chihuly and the de Young for choosing to feature his work; in his opinion, the museum didn't choose to recognize the best modern art there is to see but rather the most colorful. He said art has to give the audience a message; it has to be intellectually stimulating and reflect on society or something equally intelligent and if it doesn't, it errs on the side of knick-knacks.
To me, this review shows we've lost sight of what art is and why it exists. Time and time again, we hear people applaud movies, music and works of art that show us something profound and/or hidden about our society. But what about stuff that just makes us feel good?
Art exists because it communicates things we can't communicate verbally, so if you can discuss art and conclude exactly what it means verbally, it's not great art. The best art is the kind that inexplicably stirs something inside us, that makes us feel something we can't explain. Claude Monet does that to some, and so does Vincent van Gogh, but neither of them were trying to send us a deeper message--they just wanted to paint the way they felt or saw. Why, then, do we call them artists and not Chihuly, who creates stirring feelings and scenes with glass-blown forms? Why do modern artists have to pack a lecture into a piece of art?
Answer: they don't. Chihuly's work is art because it makes people feel.
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