As mentioned earlier, the Signature Brass Quintet was scheduled to share a concert with the GHPSO clarinets on April 9. Last week we learned the clarinets aren't able to do their piece of the show. The good news (for us): the brass quintet now gets to do a complete concert on April 9. The bad news (for us): we now have an extra hour of music to polish. Which raises the stress level just a tiny bit.
But that's an exciting problem to have.
In case you missed the earlier announcement:
The Signature Brass is now performing an entire evening concert of brass music, from baroque to pops and everything in between. Saturday, April 9, 7:00 p.m. St. John's Episcopal Church, Gig Harbor, WA.
This concert is the spring edition of the Gig Harbor Peninsula Symphony Orchestra concert series.
Showing posts with label concerts. Show all posts
Showing posts with label concerts. Show all posts
Wednesday, March 23, 2011
Tuesday, May 11, 2010
Want some Good Music?
The Gig Harbor Peninsula Symphony Orchestra Presents
Season Finale Concert
Saturday, May 15, 7:00 p.m.
Featuring:
Mozart's Serenade in Eb, arranged for Five Clarinets
Doppler's Flute Duettino
The GHPSO Brass Quintent (that's me!)
playing selections ranging from Bach to Gospel, from Baroque to Jazz
More information can be found at the GHPSO website
Saturday, June 06, 2009
Just a reminder
Lakebay Community Church is hosting the
Watoto Children's Choir
from Uganda, Africa
at the Longbranch Improvement Club
Sunday, June 7
7:00 p.m.
Admission is free,
although a free-will offering will be taken to benefit the Watoto kids.
Watoto Children's Choir
from Uganda, Africa
at the Longbranch Improvement Club
Sunday, June 7
7:00 p.m.
Admission is free,
although a free-will offering will be taken to benefit the Watoto kids.
Tuesday, May 12, 2009
One Last Reminder
The choir from Alaska Christian College
will be presenting a program of music and dance
shared in their native style and language
tonight at Lakebay Community Church
7:00 p.m.
Snacks and fellowship to follow.
will be presenting a program of music and dance
shared in their native style and language
tonight at Lakebay Community Church
7:00 p.m.
Snacks and fellowship to follow.
Saturday, October 11, 2008
Farm Fest 2008
Set List:
Roll in my Sweet Baby's Arms
Cindy (the Andy Griffith Version)
Dooley (The Dillards)
The Crawdad Song
Poor Boy's Delight (Infamous Stringdusters)
I'll Fly Away
I Can't Feel At Home in this World Anymore (Blue Highway Version)
When the Roll is Called Up Yonder
Keep On the Sunny Side
Tramps and Hawkers (Laurie Lewis and Tom Rosum)
Farther Along
Hard Times Come Again No More (Stephen Foster)
The Last Testament of Angus Shane (Lost Dogs)
The Last Train to Glory (Arlo Guthrie)
Angel Band
Froggy Went a-Courtin'
You Are My Sunshine
If There Hadn't Been You
When You Say Nothing at All
All I Want is You (U2)
A Long December (Counting Crows)
Goodnight Irene
Roll in my Sweet Baby's Arms
Cindy (the Andy Griffith Version)
Dooley (The Dillards)
The Crawdad Song
Poor Boy's Delight (Infamous Stringdusters)
I'll Fly Away
I Can't Feel At Home in this World Anymore (Blue Highway Version)
When the Roll is Called Up Yonder
Keep On the Sunny Side
Tramps and Hawkers (Laurie Lewis and Tom Rosum)
Farther Along
Hard Times Come Again No More (Stephen Foster)
The Last Testament of Angus Shane (Lost Dogs)
The Last Train to Glory (Arlo Guthrie)
Angel Band
Froggy Went a-Courtin'
You Are My Sunshine
If There Hadn't Been You
When You Say Nothing at All
All I Want is You (U2)
A Long December (Counting Crows)
Goodnight Irene
Tuesday, October 07, 2008
Concert Review: Amazingly. . .disappointing
It was set up to be an interesting evening. Chris Thile, the mandolin prodigy famous for his three solo albums and his three bluegrass albums with his band Nickel Creek. Edgar Meyer, one of the most proficient double bass players in the world today. They are both masters of their instruments, both well-versed in the standard core related to their instruments, yet both given to pushing the boundaries in search of new sounds and ideas.
I went to the show, held in Seattle's beautiful Benaroya Hall, as fans of Thile. We had never heard of Meyer, but read his bio with great interest as we settled in to enjoy what we assumed would be a night of bluegrass, ballads, and great music. Thile's "How to Grow a Woman from the Ground" is one of our favorite albums, one we probably listen to every week, and thus we assumed we knew what we were getting into.
Unfortunately, that assumption was wrong.
Don't misunderstand. Thile and Meyer were utterly amazing. Their technical proficiency, their sense of musical phrasing, their ability to improvise were all astounding. The interplay between the two instruments was breathtaking to behold. They ripped off lightning-fast riffs with each note played clearly and distinctly, they harmonized in complex, atonal ways, they danced around ideas and tunes, passing back and forth with electric runs and complex sustained chords. Just watching them work their instruments was an inspiration.
It was just that the entire night turned into a 2-plus hour demonstration of experimental music. Their set consisted of music from their collaborations, music of their own composition, plus a few Bach numbers thrown in. Those classical pieces became, for us, the few enjoyable moments of the evening (ever heard a Bach Organ Prelude played by mandolin and concert bass? It can be surprisingly pleasent).
But they never went near any of their more standard work. Not one song from any of Thile's solo albums, nothing like his Nickel Creek days. And after two solid hours (with a short intermission), it all became too heavy. Too "out-there." It was, truly a disappointment.
Maybe if we'd been told ahead of time, and knew what to expect, we might have appreciated it more. Or, more likely, we wouldn't have gone, saving our money for Jolie Holland in Olympia next week. Truthfully - by the time we purchased the tickets, had a nice dinner out, spent the money on gas to get to Seattle and back, we were out a significant chunk of cash. And to hear "How to Grow a Woman" or "The Beekeeper" or "You're An Angel (and I'm gonna cry)" would have been worth it. But we got none of that.
All through the show, we kept telling ourselves "They've got to spend some time here, but they HAVE to pull out some of their other stuff. Too many people are looking forward to it." After the intermission we expected it. For the encore we expected it. But, nope. None of that. To come with one set of expectations and be given something completely different was just, well, disappointing.
And I don't think we were the only ones. I noticed little pockets of people standing around at intermission, all dressed like bluegrass lovers, who had a haunted look in their eyes. Following the intermission I noted quite a few empty seats. Throughout the second half, I saw more and more people getting up quietly and walking out. Following their final song, when many stood to cheer and call for an encore, many more simply turned and left.
I hate to sound like a hick or a curmudgon, griping about this "new-fangled music" and wishing for something "dumbed-down." Truthfully, if we were on a college campus and had come for a night of experimental improv, I probably would have liked it. But this was so far away from what we were expecting, so different from what we had hoped. . .it was difficult to take.
And after 2 hours of odd chord structures, clashing riffs, atonal harmonies, euclidean time signatures, tweets and growls, moans and groans and exploding runs in the midst of pastoral clusters, after two hours of "Rabbit Cake" and "G222" and "The Fencepost," I just couldn't stand anymore.
It's rare for me to say this after a concert, but this time around, I really wish we had saved our money and stayed home.
Except, of course, that's it's always nice to be out, and it was nice for the kids to see grandma and grandpa. I suppose those were the ultimate highlights of an otherwise dreary evening.
No offense to Chris or Edgar - you guys are amazing players. I just needed something to which I could tap my foot, and you never delivered.
I went to the show, held in Seattle's beautiful Benaroya Hall, as fans of Thile. We had never heard of Meyer, but read his bio with great interest as we settled in to enjoy what we assumed would be a night of bluegrass, ballads, and great music. Thile's "How to Grow a Woman from the Ground" is one of our favorite albums, one we probably listen to every week, and thus we assumed we knew what we were getting into.
Unfortunately, that assumption was wrong.
Don't misunderstand. Thile and Meyer were utterly amazing. Their technical proficiency, their sense of musical phrasing, their ability to improvise were all astounding. The interplay between the two instruments was breathtaking to behold. They ripped off lightning-fast riffs with each note played clearly and distinctly, they harmonized in complex, atonal ways, they danced around ideas and tunes, passing back and forth with electric runs and complex sustained chords. Just watching them work their instruments was an inspiration.
It was just that the entire night turned into a 2-plus hour demonstration of experimental music. Their set consisted of music from their collaborations, music of their own composition, plus a few Bach numbers thrown in. Those classical pieces became, for us, the few enjoyable moments of the evening (ever heard a Bach Organ Prelude played by mandolin and concert bass? It can be surprisingly pleasent).
But they never went near any of their more standard work. Not one song from any of Thile's solo albums, nothing like his Nickel Creek days. And after two solid hours (with a short intermission), it all became too heavy. Too "out-there." It was, truly a disappointment.
Maybe if we'd been told ahead of time, and knew what to expect, we might have appreciated it more. Or, more likely, we wouldn't have gone, saving our money for Jolie Holland in Olympia next week. Truthfully - by the time we purchased the tickets, had a nice dinner out, spent the money on gas to get to Seattle and back, we were out a significant chunk of cash. And to hear "How to Grow a Woman" or "The Beekeeper" or "You're An Angel (and I'm gonna cry)" would have been worth it. But we got none of that.
All through the show, we kept telling ourselves "They've got to spend some time here, but they HAVE to pull out some of their other stuff. Too many people are looking forward to it." After the intermission we expected it. For the encore we expected it. But, nope. None of that. To come with one set of expectations and be given something completely different was just, well, disappointing.
And I don't think we were the only ones. I noticed little pockets of people standing around at intermission, all dressed like bluegrass lovers, who had a haunted look in their eyes. Following the intermission I noted quite a few empty seats. Throughout the second half, I saw more and more people getting up quietly and walking out. Following their final song, when many stood to cheer and call for an encore, many more simply turned and left.
I hate to sound like a hick or a curmudgon, griping about this "new-fangled music" and wishing for something "dumbed-down." Truthfully, if we were on a college campus and had come for a night of experimental improv, I probably would have liked it. But this was so far away from what we were expecting, so different from what we had hoped. . .it was difficult to take.
And after 2 hours of odd chord structures, clashing riffs, atonal harmonies, euclidean time signatures, tweets and growls, moans and groans and exploding runs in the midst of pastoral clusters, after two hours of "Rabbit Cake" and "G222" and "The Fencepost," I just couldn't stand anymore.
It's rare for me to say this after a concert, but this time around, I really wish we had saved our money and stayed home.
Except, of course, that's it's always nice to be out, and it was nice for the kids to see grandma and grandpa. I suppose those were the ultimate highlights of an otherwise dreary evening.
No offense to Chris or Edgar - you guys are amazing players. I just needed something to which I could tap my foot, and you never delivered.
Sunday, April 27, 2008
Why I gave up youth ministry
(note: please read just a slight amount of sarcasm in the following post, lest you mistake this for a slight against the faithful men and women who lead the youth of Lakebay Community Church, and all other churches. . .)
Friday night the youth group of Lakebay Community Church were well into their 30-Hour famine, attending a rally (with a loud band, or so I'm told) in Gig Harbor. Over the years I led a dozen or so famines, so I know what that's all about. And the leaders - they were well into hanging out with all those rowdy teens who were hungry and loud and teenager-like.
I, on the other hand was enjoying dinner at Tango Tapas Restaurant on Capitol Hill in Seattle (home of Seattle's #1 dessert according to voters). Eating Spanish Olives and Toasted Almonds, Queso Azul, Enselada con Pato, Oysters, Spanish Cheese, and a host of other delightful and aromatic dishes. My wife, her sister, and their father were enjoying it all along with me.
And following dinner, about the time our youth leaders were hauling kids back into vans to go spend the night at sleepover locations, the four of us wandered over to the Paramount Theater to see Jazz Legend Dave Brubeck (and quartet) in an astounding display of virtuosity. For an 87 year old man, Brubeck can still jam. He even blessed us by closing the set with his standard, Take 5.
And the night closed with the Ramsey Lewis Trio, who serenaded us with the sweet sounds of funk, gospel, and cool jazz, including a few soul-searing piano solos.
I loved my years in youth ministry, so don't get me wrong. And I am excited about the great staff we have working with our youth at Lakebay. For one night, though, it was nice to play adult.
Friday night the youth group of Lakebay Community Church were well into their 30-Hour famine, attending a rally (with a loud band, or so I'm told) in Gig Harbor. Over the years I led a dozen or so famines, so I know what that's all about. And the leaders - they were well into hanging out with all those rowdy teens who were hungry and loud and teenager-like.
I, on the other hand was enjoying dinner at Tango Tapas Restaurant on Capitol Hill in Seattle (home of Seattle's #1 dessert according to voters). Eating Spanish Olives and Toasted Almonds, Queso Azul, Enselada con Pato, Oysters, Spanish Cheese, and a host of other delightful and aromatic dishes. My wife, her sister, and their father were enjoying it all along with me.
And following dinner, about the time our youth leaders were hauling kids back into vans to go spend the night at sleepover locations, the four of us wandered over to the Paramount Theater to see Jazz Legend Dave Brubeck (and quartet) in an astounding display of virtuosity. For an 87 year old man, Brubeck can still jam. He even blessed us by closing the set with his standard, Take 5.
And the night closed with the Ramsey Lewis Trio, who serenaded us with the sweet sounds of funk, gospel, and cool jazz, including a few soul-searing piano solos.
I loved my years in youth ministry, so don't get me wrong. And I am excited about the great staff we have working with our youth at Lakebay. For one night, though, it was nice to play adult.
Friday, April 11, 2008
Music News and Notes
Just bought tickets to see Dave Brubeck and Ramsay Lewis in concert at the Paramount in Seattle in a couple weeks. Should be a night to remember.
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