A Long Overdue Concert for an Old Friend Gone Too Soon
Hi folks –
I’m starting a series of posts here chronicling the preparation for and performance of a memorial concert for my friend Jim Decrescenzo, who passed away Sept 5th of this year at the age of 56.
I’ve known Jim since I was 19 or so (actually, it’s a bit hazy), and he, Lou Magliente & I formed the basis of what was to become my first and longest running band, “A. Animal“.
Deke was a brilliant cat, and a real down to earth guy. The kind of guy who’d give you the shirt off his back if he thought you needed it. For the last 18 years or so he’s been living in Woodstock NY, making a name for himself as an expert woodworker and craftsman. But what most of hinds friends don’t know (or at least I don’t think they know – I can’t actually say because I haven’t met most his current friends) was that Jim was an AMAZING composer & musician. In or around 1981, Jim chose to give up music. His wonderful compositions were never performed. Now with his his passing and the blessing of his family, I have undertaken the task of performing Jim’s music in concert. This concert is happening in Woodstock NY on Wednesday November 19th – a memorial concert, if you will. The stellar band (handpicked by me – yes, I’m blowing my own horn here) includes musicians I know Jim would have appreciated – Brian Mooney (bass); Jason Furman (drums), Chad McLoughlin (guitar). Some of Jim’s tunes require more than 4 musicians, and for those pieces we’ll be joined by Ted Orr (guitar) and longtime friend Steve Rust (bass). Plus there’s 2 vocal tunes which I will be singing. All together there are 7 tunes – 5 instrumental and 2 vocal – and including such old favs as “The Sorcerer’s Ranch”, “Box 555”, “Trainride” and “Pines”. (If you low these tunes, believe me – you’ll want to hear them live.)
When Jim gave up music he handed me a folder of his handwritten scores – they were exact & beautiful, s Jim was also learning music copying. I kept these scores safe until I saw Jim again in 2005, almost 25 years later. I did see Jim once in the 1990’s – before our daughter was born – and knew then he had become a woodworker and had a child of his own. But it was very brief, and we lost touch again. In the interim, around 2001, I decided to produce one of Jim’s tunes, because 1) I loved his music and 2) it’s a great tune. Here’s a rough mix on Soundcloud:
When I finally did reconnect with Jim, we rekindled our friendship and although I tried to help him get back into music, he wasn’t able to find his way back…
In addition to his scores, there were the tapes: All of his tunes he had recorded and a Tascam 3440 4 track reel to reel. I had mix downs of his tracks on cassette tapes, which I’ve been holding on to for decades. When I got in touch with Jim’s family, they expressed to me that they wanted to be able to distribute CD’s of Jim’s music to give out at the memorial concert. I agreed to take the tapes, have them transferred to digital, mix master & produce the, That’s still in progress as I write this.
In part 2 I will talk about the completion of the process. When the CD’s are done I will make them available for download via Bandcamp. Stay tuned for that.
Part 2 coming soon. As Always, thanks for reading.
As the saying goes, “Be careful what you wish for”. I’ve tried to take that philosophy to heart, and to focus my heart & mind on where I want to be and what I’d like to be doing, in the best possible scenario. If the month of June is any indication, then I’d have to say it’s starting to really pay off.
The title of this post is “8 in 1“, and it refers to what might be for me a new record – 8 bands in one month! (Actually, I highly doubt it’s a record because I’ve done this sort of thing before. But this time there’s a key difference. More on this later.)
Let me be a tad bit clearer: by “band”, I mean a specific performing situation. This can be a traditional band (drums, guitar and so forth) or a non traditional “ensemble” such as the show I did with Decora – synths/loops (me), a DJ and a drummer.
I’ve been building to this for a long time, ever since I left “The Machine“, the Pink Floyd Tribute I was in for 10 years, in 2006. (My friend, bassist Keith Macksoud, lovingly referred to them as “La Machine, the food processing band”. Some of you older folk will get this joke.) The Machine was, from 1996-2006, my primary gig. What happened before that is very long and complex, and material for another post altogether, but involved a large number of bands, often at the same time, starting with “A. Animal” in 1978 and ending with “Neil Alexander & NAIL“, which I disbanded in 2011. From 2012 to 2013 I focused on my solo piano CD & tour.
Another thing that transpired in my universe, starting in 2011 or so, was a long overdue (that’s up for debate) move away from the “Small mobile rig controlled from a single keyboard worn on a strap” that I had completely focused on for 15+ years. During that time I had taken that concept as far as I could musically and technologically. In addition to running out of room (physically, on the short keyboard) and having my main axe be a “plastic piece of junk” (sorry Roland – your AX7 is fun to play but just ain’t built well), I found a subliminal attitude among my fellow musicians: they were not really taking me seriously. In hindsight this is understandable. In the interest of “not carrying around this much crap ever again” I had abandoned my many years of work with a multi-keyboard setup, years of practice in on the spot orchestration. It was a skill I’d developed over years, and I’d forgotten I had it.
One of the other bands I was in after leaving “the Machine” was (is) “The Mahavishnu Project” (2008 to the present), fronted by drummer/composer Gregg Bendian. This was for me a quinteseential experience – I grew up with, loved and worked on this music for many years, and now I was getting to perform it, in front of an appreciative audience, and actually get paid. (!) But there was no way I could do this gig on the AX7 remote MIDI controller (commonly reffered to as a “keytar”; I bristle when I hear that word) that was my tehcnological focus for so long. I woud need a real rig, what I came to call a “traditional” rig – and more importantly, a real analog synthesizer.
I have a good friend from Long Island NY – let’s call him “Mr. Smith” – who is a fan from the Machine days. Mr Smith is also an Analog Synth enthusiast, and a bit of a collector. He had this curious habit (for which I am eternally grateful) of showing up at my gigs with something from his collection – usually an immaculately maintained original Minimoog, the “holy grail” of performance synths – hoping to hear his instrument played, apparently, by an expert. As someone who has spent most of my adult life in love with synthesizers, I was perhaps uniquly qualified to deliver the goods, and he recognized this. At the time I owned a non working ARP 2600 and a Sequential Circuits Pro One. When I started touring with the Mahavishnu Project it became apparent I would need something more robust.
For one thing, a Minimoog-type instrument was essential to this music – the sound has to cut, and it has to be playable in that style, well built and with hearty controls. Nothing I owned really fit that bill. In actuallity I had no need for it previously – it was an expensive investment into instruments that had no effects built in and could only play one note at a time. (But O that sound…!) I used whatever keyboards I could – usually my Kurzweil PC88 controller, a recently acquired Roland VK-7M Organ module (with drawbars) and the Pro One. Sufficient, but ultimimately unsastisfying. Meanwhile, during this time, our intrepid Mr Smith would periodically whisper in my ear “I think you should go back to playing a traditional rig“. I can’t remember how many times he said this, but during my time wth the Mahavishnu Project a light bulb went of and I said “you know, perhaps you’re right!!”
After the first few gigs with the new rig I had to laugh. It was like going back to 1977 with a Rhodes and a Minimoog, the place where it all started for so many of my keyboard playing peers. (It even opened up the possibility of doing something my friend Steve Lawson suggested – using a processed Fender Rhodes electric piano, without the heartache and backache of carrying a real one around.)
Back to 2014: The Solo Piano tour/CD/exploration is now complete; I’m looking to get back to ensemble work. NAIL – which was based in part around the use of the AX7 and it’s accompanying playing style – were finished. I was using this new rig on every gig I was called to do, and loving it. I replaced the AX7 with an A37 – essentially the same instrument (a keyboard controller) but a 76 key version, much more suited to sitting down.
Also during my Mahavishnu Project tenure I met saxophonist, educator and composer Peter Furlan. Introduced by our mutual friend Pete Salo (photographer), it was immidietaly apparent that Peter F & I had a lot of common ground. We began to do a variety of things together, including his sextet, a trio and our duo project “Le Jazz Electronique” in which I make extensive use of Ableton LIVE in an improvising context. (I’ve been using Ableton for years now – check out my user group page here.)
Looking to become involved with a somewhat lucrative project, I began to toss ideas around with different folk. One of those folk was Peter Furlan and one of those ideas was “Mr. Gone“, a band focusing on the same 1970’s/80’s era Jazz Fusion stuff I knew and loved, but concetrating on the GROOVE side of that music, as opposed to the “everything in odd time sigantures & lots of unison lines” stuff. The most well known and longest running of those groups was Weather Report, so we are in effect a “Weather Report Tribute”.
Another relatonship I had developed over the last few years was with drummer Ray Levier, a great drummer and practically the nicest cat you’ll ever meet. We have an ongoing duo thing called “Red Slider” in which we were BOTH using Ableton LIVE, syncing our laptops togther on stage and generally having a good time with it. Ray periodically calls me for his gigs, usually at one of his regualar spots.
Meanwhile, Pete Furlan had introduced me to another bandleader/singer Rick Oberson and the Flying Obersons. Rick has an ecyclopedic knowledge of Rock ‘n Roll, including progressive rock and a lot of other things. I moved into the sub spot for his regular guy. Good! Work is work.
The “Thunderhead Organ Trio” is another group based on a long standing relationship. In this case it evlved out of The Bean Runner Jazz Project, orignally assmebled by trombonist Joe Gil with his friend Premik Russel Tubbs (whom I met thru the Mahavishnu Project). The Bean Runner project was a 5 pice band, and while great fun, it always seemed to be tough to get everyone together. As a trio, belive me – scheduling is much easier. And again, my traditional rig comes to full bear, allowing me to orchestrate, hilight, explore and just generally have a great time with the music.
And finally, I was recruited for something I had never done before: playing behind a rap artist. Decora is a Newburgh based poet and rapper with extraodrinary talent, and his vision put me along side a DJ and drummer. It was a brand new way of working for me, and I was genuinley thrilled and excited to explore this new prospect.
On top of all this, I was able to add a short solo performance on June 28th, which I called “NAILgun“.
So there it is: A culmination of many years worth of work, groups, gear – and the slow whittling away of “unessecary” things, or things that just did not make me happy. And now the magic begins to work; the phone, which has pretty much contunued to ring (thank heavens) with all manner of music work now delivers one musically satisfying situation after another – till we arrive at what I can only think of as a sort of “personal critical mass”, where all this comes together to mean a month full of work, spread over 8 different situations, all of which I’m thrilled to be a part of. Here’s the list:
Aleah Long & En Full Circle
I am savoring this moment, because I’ve worked for it – and wished for it. I’ve been moving, concsiously or unconciously, in this direction for quite some time, and I feel like I’m actually getting somewhere.
– Neil Alexander
Today’s “tales from the back catalogue” concerns an unreleased recording that I produced in 2002. My family and I had just relocated to Newburgh New York, in the spring of 1999. Newburgh has one of the largest historic districts in the state, and it’s charm was very appealing. We had been spending considerable time getting to know the local artistic community which was composed mostly of visual artists, sculptures, poets and a few other folk. Nita & I seemed to be the only music people. We were taken with the whole scene.
Then 9/11 happened, and we responded as artists – with new works & collaborations. I began collaborating with Hudson Valley poet Mona Toscano. Together we worked on a project for CAP – Community Arts For Peace. We received a small grant for new work. My contribution was “Newburgh: An Urban Romance’. We held a reception and performance at our house – in effect a House Concert before I had even heard of the term as it is used today.
In the audience that day was a young film maker named Merle Becker, who was at that time making a film called “Saving Newburgh” about the political trials and tribulations that I had not yet become aware of. She expressed an interest in using some part of the music in her film, so I went about the task of organizing a group, rehearsing & recording the piece.
Ultimately the music was not used in the film and the finished recording “sat on the shelf” as it were, since 2003 when I went ahead and made a final mix & master with my longtime friend and engineer Ryan Ball. Releasing it on physical CD was an expensive proposition at the time; plus I have my reservations about the work – I’m not happy with the overall quality of my playing, I couldn’t get the band I wanted and there were other problems etc. – so there it sat.
I continue to work with Mona fairly regularly and at a recent performance she asked me about the Newburgh recording. I decided then to post it up on Bandcamp. It’s a piece from my past, and I’m not really the same person anymore – there’s a lot I would differently today – but it’s a completed work. And thanks to the magic of the modern internet & it’s available tools for music promotion, it can finally be brought to light. Plus it’s my only “Jazz Suite” to date, inspired by Duke Ellington and that style. Thanks for listening.
– Neil 8/16/13
In 1966, a boy sat in a movie theater & watched the evolution of life and the rise and fall of the dinosaurs, accompanied by incredible music. The film was Walt Disney’s “Fantasia”, the music, Igor Stravinsky’s “The Rite of Spring” and the young boy was Neil Alexander – me. The pounding rhythms and striking dissonances etched themselves into my subconscious, influencing & informing my musical life for decades to come.
Looking back on this now, it’s obvious to see how amazingly influential it has been. Look at the stuff I like: Mahavishnu, ELP, Progressive Rock, 20th Century classical music, Prehistoric culture – the list goes on.
In light of the Centennial of this game changing – and life changing – piece of music, I am gloriously proud to be bringing the “100 Years Of Spring” project back to my “home turf”, The Hudson Valley.
“100 Years of Spring” was originally conceived as a live music program appearing in farm/food markets and other places notable for enhancing environmental sustainability. These performances represent an effort to bring music, originally directed at audiences of elite society, to places of public gathering where social division is less significant. “100 Years of Spring”, seeks to honor the centennial of the premiere while connecting the concept of spring with sustainability and local food & farms. To further that end, I have partned with Common Ground Farms and made this performance a fundraiser. I’ve been a long time supporter of Common Ground Farm and former member of their initial Community Supported Agriculture program.
Common Ground Farm, a community staple for many years, evolved as an organization to become a nonprofit farm project growing food for education and food justice programs. “Our education programs, workshops, and Summer Camp bring children and adults opportunities to learn about sustainable farming, local food, and environmental stewardship.” This summer the Farm’s Mobile Market – staffed by the Green Teens — is traveling the area bringing low cost, CGF- grown vegetables to low income housing areas. Children who might otherwise go without are receiving regular lunches from the Kids ‘R Kids Summer Feeding Program, which includes donated vegetables from the Farm as well as activities for the kids each week with a local chef. The Farm is regularly delivering vegetables for Salvation Army Lunches and to the St. Andrew’s & St. Luke’s Food Pantry. The Farm’s Food Justice programs make local, organically grown, fresh produce available to everyone, regardless of income.
The performance takes place on August 10th at the Howland Cultural Center, 477 Main Street in Beacon NY. The HCC is a well known venue for community sponsored events, concerts AND great chamber music, so it seemed the obvious choice. In addition, my very good friend violinist Rachel Evans will be joining my to perform an original composition of mine.
Common Ground Farm is a community resource; all are welcome to visit the fields, volunteer, learn, and gather together for the common good. You can learn more about the Farm’s mission and programs at their website http://www.commongroundfarm.org, by calling (845) 231-4424 or by emailing email@example.com. “100 Years of Spring” is a sponsored project of Artspire, a program of New York Foundation for the Arts (NYFA), a 501(c)(3) tax-exempt organization. www.100yearsofspring.org.
It’s Tuesday May 28th. Tomorrow, Wednesday May 29th, will be exactly 100 years since Igor Stravinsky’s “Rite Of Spring” premiered in Paris at the Théâtre des Champs Elysées in Paris, with choreography from Vaslav Nijinsky. The infamous riot (or whatever actually happened – look it up, it’s debatable that it was an actual riot) is now a part of our collective consciousness.
The stories & details of this event are numerous and can easily be found around the web, so I will not bother with reproducing or quoting them here. But I do want to speak briefly about my connection with the musical part of the work, which goes back to 1967. I was 7 years old, and my parents took the family to see Walt Disneys “Fantasia” – a film which had it’s original premiere in 1940 (Wikipedia Article). Why it was being shown again I can probably guess, but the seeds were sown: The now iconic footage of the formation of the Earth and prehistoric life – namely Dinosaurs – was the stuff of every boys dream.
My dad was an ametuer classical pianist, so there was a Chickering Baby Grand Piano in the house, and music was on the stereo. No surprise here: I wanted a copy of that music! I was given an LP of the complete piece. At the time, I didn’t know that the producers of “Fantasia” had cut and resequenced parts of the “Rite” so that it was considerably different from the original version. All I knew, at age 7 was “This isn’t it….it’s different”. I put the record away; and while my memories of that first film experience still resonate, it would be years before I found myself in the company of the work again.
Fast forward: 1977-ish. I’m in High School. There seems to be TONS of great music EVERYWHERE: The airwaves are flooded with tunes and everyday someone hands me something great to listen to. I’ve been playing piano now for 9 years or so, and have made some (what were to me) incredible discoveries about the music I liked and it’s history. Deodato’s “Also Sprach Zarathustra” was a big influence, and a big radio hit at the time. I asked my current piano teacher to help me learn it, and it sparked an interest in arranging which I realized by arranging some music for my HS Jazz band – in 9th grade. I was 13. Also during this time, someone gave me a copy of Mahavishnu’s “Birds of Fire”. I didn’t understand it, but… there was something about it, some kind of connection.
After that, as a keyboard player, it was a short trip to progressive rock where keyboards actually had some meaning. Bands Like ELP, Genesis and Yes were central to what I thought was “cool”. King Crimson’s “Larks Tongues in Aspic” and Starless & Bible Black rounded up the hard edged composed music aesthetic. Soon after I rediscovered the Mahavishnu Orchestra – even more complex and exciting – and thru it Miles Davis. The whole of Jazz came flooding after, it’s complex harmonic language which I later learned was directly influenced by the “Rite Of Spring.”
Classical music had always been an underscore thru this time – Beethoven, Liszt, Chopin, Tchaikovsky – some of the biggies. But it wasn’t until my late teens that I began to see the other stuff – Bartok’s String Quartets & concerto for Orchestra; Scriabin, Hindemith, Ives – and Stravinsky came Roaring back. And When I say Roaring… for several years the ritual was to point the speakers out the window on the first day of spring and play “The Rite” as loud as the system would go. Oh yeah, baby. It was AWESOME.
Fast forward again: 1982. Struggling in NYC; didn’t finish High School, didn’t go to college. Parents divorced. No family support. Just my music to hold on to…
During this time I received as a birthday gift a copy of the Rite for Piano 4 hands. At the time I had a fledgling interest in prehistoric culture, driven by a fascination with places like Stonehenge & Newgrange (in Ireland). Suddenly I had in front of me the Complete Rite Of Spring – and its original scenarios and meanings captured my imagination.
I had begun to play for Dance Classes at NYU around this time; and while I didn’t really know much about the ballet – or that there even WAS a ballet – I quickly learned. I continued to work with dancers and choreographers. I learned of all the major version: Pina Bausch, Martha Graham, Paul Taylor, and various balletic versions. But for my money, the Joffrey Ballet‘s reconstruction of Nijinsky’s original choreography is to me the most visceral, the most powerful. A fascinating documentary exists, “The search for Nijinsky’s Rite of Spring” that describes the reconstruction and ends with a video of the performance from 1987.
This whole situation strikes me as a sort of “fractal” – reconstructing the Rite, which is itself reconstructing things from Prehistory; and my connection with so called “progressive” & avant-garde music of which the “Rite” played such a huge part in both harmonically & rhythmically; and my subsequent work with Dance, that part of the premiere that is oft overlooked. It locks together music & events in my life into what is for me a startling mosaic.
My story from there is a little more well known, documented in press releases and reviews of my performances. All of this has culminated in my current “100 Years Of Spring” project, and I am thrilled to be performing this work in the year of it’s centennial. While I have no actual performance scheduled for May 29th, I will be celebrating with a trip to the Nicholas Roerich Museum in NYC. Nicholas Roerich has the distinction of working with Igor Stravinsky to create the sets and tableaus for the original storyline of The Rite – “Le Sacre Du Printemps” – in which a primitive pagan russian tribe celebrates the return of spring, and ends with a sacrifice as a young maiden dances herself to death.
I hope to continue and “Dance the work to Life” as my performances continue into the next year, with my next show in Los Angeles on June 16th. If you’re in the area, I hope you’ll come join me in celebrating this masterpiece.
Greetings, Dear Readers!
It’s finally here: “Darn That Dream Solo Piano Vol. 1”, my first official solo piano album. A long time in coming, this recording represents a very significant milestone for me. This post gives a little backstory and a little about my process. This is Part 1.
This record took almost 2 years to go from the recording session to the final product. Part of that was simply not having enough time to finish the things I needed to do – buying licenses for the standards, or setting up the mastering; editing the artwork, etc – but a more significant part of it was grappling with my fear of failing – or more specifically, not measuring up to my unrealistically high expectations. Many decades of listening to 1st class piano music will do that to you. How could I possibly hope to compete? The only way I could actually complete this process is to let go of all that and make something much more personal. I feel I’ve accomplished this, and although the lingering fear, now mostly habit, still floats around my head and makes me overcautious, I am proud to present you with this recording.
Part 1 – A Story Telling
My first connection to music was thru the piano. When I was 6, we moved out of NYC to the suburbs. My family bought a house on a cul-du-sac in one of those new developments, the kind of houses the song “little boxes on a hillside/and they’re all made out of ticky-tacky” was written about. It seemed like a big old house to me, however, coming from a small apartment in NYC. We had very little furniture to fill what seemed to me to be a gigantic living room. And then one day it appeared: The black Chickering & Sons baby grand piano that I learned to play on. That piano became my friend, my confident, my escape, my lover, my universe.
My dad got the piano because he loved to play; mostly Beethoven & Chopin (from what I remember). I remember hearing about Mozart – how he had written his first sonatina at age 7. I was 6, and fully convinced I could do the same. I plucked out some kind of melody and insisted my dad help me write it down. In my mind, I was Mozart… yet somehow I knew that that was a much larger world to explore. It was decided I should take lessons.
One of the earliest pieces I learned to play was the 2nd movement from Beethoven’s “Pathetique” sonata. My father taught it to me note for note. Years later he admitted that I could play it better than he could. All I really remember is spending hours & hours at the piano. We lived on a suburban cul-de-sac and that meant stickball, kickball and a variety of other games were always happening. I did play a lot – kicking the ball over the house on the other side of the circle was always a big challenge – but I also chose to spend a lot of time indoors at the piano. My 1st teacher didn’t work out so great, so another was found – Mr. Printz. I studied with him for 5 – 6 years. Under his tutelage I learned the ins & outs of basic harmony; was introduced to jazz greats like Oscar Peterson (thru jazz studies books), and had the opportunity to learn anything I wanted – all I need to do was ask.
I remember Deodato’s ”Prelude” album had a big effect on me (remember the funky version of “2001”?), and by age 13 I had composed & arranged a tune for my High School Big Band. I was hooked on music. During this time my parents marriage fell apart. They fought constantly. I stayed in my room, or at the piano whenever possible. By age 16 I was gigging fairly regularly, and was cutting high school to stay home and practice. Another key moment came when I first heard Pink Floyd’s “Dark Side Of The Moon”. I knew then that music was my best option in life, and I could not wait to get into the studio and start making records. (That would have to wait until 1990, 27 years later when my band “A. Animal” recorded our first CD “Overhaul”.)
So why a nearly 40 year delay in recording a solo piano CD? And how did I get back to it? As already stated, I started with piano. My first electric Keyboard was a Fender Rhodes Electric Piano, 73 Stage Mark I. (I still have it..!)
I had always dreamed of doing a solo piano record – hence the title, “Darn That Dream” – but listening to records by people like Keith Jarret, Bill Evans, Oscar Peterson and the great classical masters like Van Cliburn, Vladimir Horowitz & Glenn Gould (among many others) I always felt like my own work could never match up. As my friend composer/pianist Richard Cameron Wolfe once said to me, “a little bit of competition there, eh?” Geez. Part of my trepidation was that I didn’t fit comfortably into a particular style – I was not a “Jazz Pianist”, or a “Prog Rock” keyboardist, or a Classical musician. I did, however, wear all those hats at one time or another – preferably at the same time.
Meanwhile, I was constantly playing for dance classes – first in NYC (1982-1989) and then at SUNY Purchase (1992 till today), and that meant I was playing the acoustic piano constantly, in the wide variety of styles needed to accompany both Ballet & Modern Dance.
It was during my time at Purchase, in 2001, when former Masters Student and teacher Jill Echo said to me “you should make a solo piano CD. I would buy it.”
Jill & I had worked together in class, and she was a great appreciator of music. Somehow, even though it had been said to me before, it just…stuck. It took up residence in a forgotten corner of my subconscious and refused to budge.
A 2nd arc was happening around the same time, as later that year I premiered my solo piano arrangement of Stravinsky’s “Rite Of Spring” – first for the Conservatory faculty (read a review here) and then in a series of local performances, none of which were well attended. I knew I was going to have to record it at some point, though I was experiencing the same insecurity regarding recording. This was before I learned what REALLY goes on in the classical recording world these days, with literally thousands of edits..!
Meanwhile, I was trying to run NAIL around the rigorous touring schedule of a different band. This was taking up most of my time; that plus various other factors led to a decision to leave the touring group and focus on NAIL. This resulted in a CD in 2007 [“Tugging At The Infinite”] and a full gig schedule. However, I still felt like I was spinning my wheels. Then in 2010 I turned 50 – and I released “the train doesn’t go backwards, or stop” – basically that “we ain’t getting’ any younger!!” So I made the decision to put the band on hold (while I reflected on what wasn’t working), and went ahead with plans to record my first Solo Piano CD.
That’s it for part 1. Part 2 will follow in a week or so. Thanks for reading. You can download the new CD here.
This is the story of my ongoing personal journey with one of the most iconoclastic pieces of music in history… Igor Stravinsky’s “Rite Of Spring”, the piece that caused a now famous riot at it’s premier in 1913.
My journey started when I went to see Walt Disney’s “Fantasia” at age 7. I was completely captivated by the music/image combination. It stuck with me something fierce. I’m not even sure I was playing piano yet, but I remember asking my dad for a recording of the piece (on vinyl, of course!).
Many years later in 1982, I received the 4 hand score (Stravinsky’s rehearsal score) as a birthday present. I was 22. An informal performance at New York University followed in 1984, with fellow pianist Bradley Kaus. Still entranced by the piece and not wanting to let it go, I started kicking the score around – exploring both parts – and this is when I began the process of casually “squeezing” it down to 2 hands.
I was really interested in the orchestral power of this amazing piece of music. As I worked towards a completed 2 hand score, I realized what I was trying to do was bring the Orchestral “experience” of the piece to the piano. i did the 4 hand score again, with Pianist Roberto Pace in 1995 for the Purchase Dance Corps. I continued to work on a 2 hand version, more for my own enjoyment then as a performance piece.
in 1999 I moved to Orange County and met quite a few musicians right away. One of them was Flautist Lynette Benner, who was programming classical shows at the Howland Cultura Center in Beacon NY, right across the river from me. “I’ve got it about 70% percent completed,” I told her. She said “Great! We’d like you to perform it in about 6 months”.
Gulp! Probably the best thing, tho – forced me to finish my arrangement and get it going. The thing I remember most about that 1st performance is that I was SO nervous, I thought I was gonna toss my cookies. (Note: It took 15 years to cull the initial arrangement….1984 – 1999.)
The show was great fun, and a serious pianistic workout.
I also performed it in a private setting for the SUNY Purchase Conservatory of Dance Faculty. In attendance was an undergrad student, Jonathan Reidel. He was given the assignment of writing a “review” of sorts, for credit.Here’s that review:
Jonathan has since gone on to start his own Dance company, Riedel Dance Theater. We stayed in touch; I would jokingly bug him about doing “Sacre” with his company.
I continued to perform the piece sporadically for about 3 years, and finally had “had enough”. It’s a bit hard on the hands. Besides, I wanted to move on to other things. And as it seems with all (or most) of my shows, no matter how much promo I did attendance was lite. I guess maybe I was expecting – hoping – that it would generate interest on it’s merits alone.
I did get one really good review out of it, from one of the last performances in 2002. Here’s that review:
A very good review indeed; however, my “lack of audience” problem has persisted – to this day, no matter what type of show – and so I ceased performing “Sacre”.
ZOOM FORWARD to 2011. Jon Riedel has come back to Purchase to get his Masters Degree. His company is doing well….and he has an idea for new Choreography, based on Ingmar Bergman’s “The Virgin Spring”. Dark stuff, but ultimately well suited to the overall mood.
So – after not performing it for 7 years, I brought “Le Sacre” back. I made a few improvements to voiceings and such, and we premiered his chorepography, with live music, 2 nights last May. It was a smashing success! I have some video footage which I will post as soon as I get a chance. We are also talking about working it into his upcoming (2012) season.
And – we are also approaching the 100 anniversary of the Rite Of Spring, and I have my own plans: an International tour of small concert venues & house concerts, ending in Paris in May 2013 where the piece premiered 100 years before. I have to tell you, I’m very excited by the whole prospect. Plans are being drawn up as I type. Of course this syncs up very nicely with my return to purely acoustic performance, and the (soon the be released) Solo Piano CD.
..And there it is! We’ll be keeping you posted, you can be sure. Thanks for reading.
Greetings, all comers! Welcome to another installment of the NAILblog…
About 13 months ago, I had started to write my 2009 Year-End wrap up post, about all that had happened in, well, 2009. There was quite a lot that happened; and in fact, kept happening – to the extent of which I never actually finished writing it. In fact, a whole other YEAR went by, and all the time I was thinking I could still get to it…. Not. Ridiculous, actually. So as 2010 came to close, I grappled (however briefly) with the idea of a 2010 Year End Wrap Up post again, and realized my mistake: its actually much more important for me at this point in my life to look FORWARD, instead of back. So I therefore change tack and offer more of a “what I hope to Accomplish in 2011” type of post. There’s a whole pile of projects and ideas I want to try and get to this year, and posting them here might (I am hoping) help me actually GET to them. Here goes:
What I’m planning for 2011: The Adventure continues
1) The Solo Piano CD & Performances
2) The Planets Project
4) Duets (various)
..and quite a few more I’ve not listed at the moment. Also on this list is my lovely wifeNita Rae, a songwriter & keyboard player. We’ve done things together now & again; she’s acted as coproducer and/or engineer on almost all of my recordings. My collaboration with her is way overdue, and will take top priority when it begins to take shape.
5) NAIL reborn, or reinvented, or just renamed…
6) The Mysterious Phantom
I did this solo show at the Annual Zombie Barbecue hosted by my friend Dan at the Wherehouse restaurant in Newburgh. It was a sort of hardcore avant techno thing; I dressed in a cape, used a Theremin and was billed as The Phantom. There were suddenly a lot of requests for a Phantom CD. Sometimes you just gotta give the people what they want. Ill be doing that gig again this year, and I will have product in hand this time.
7) Choice NAIL: Live & Unreleased trax
8) UK House Concert & Lecture tour
9) NAILMUSIC.COM Website Overhaul
10) Solo Performances: Raves, Galleries, Concert Halls & House Concerts
Right alongside the acoustic piano concerts will be the electronic ones. In fact, I’m working a set of music for Piano/Laptop that has the best of both worlds. There will also be electronic only gigs, like Raves – I did 2 last year, major fun. The idea is to get out there and PLAY.
….And the question now is: only 10?
NEXT: The year of the Piano
Greetings, all! I’m wrapping up another year here at nailmusic.com, and I’ve got a few cool shows this month and some great things to look forward to next year. This week in particular seems to be the busiest! It all starts this Tuesday, when I have the honor of sitting in with the Bergen Catholic High School Jazz Ensemble under the direction of Saxophonist/composer/educator Peter Furlan. Then Wednesday night I’ll be the house keyboardist (with Bob Meyer on drums) for Kenny Lee’s Jazz Jam Session at The Bungalow in Mount Vernon, NY. Friday I’m back at the Bean Runner with Joe Gil and his “Trio Of Terror”, with Chris Weigers (bass) and Gregg Bendian (drums), and finally SUNDAY I’ll be returning to the wonderful Turning Point Cafe in Peirmont for another WINTER SOLSTICE CELEBRATION & Canned Food Drive (supporting the Food Bank Of The Hudson Valley). We have a great show planned. This year’s group features James Cammack (from Ahmad Jamal’s group) on bass, Bob Meyer on drums and 19 year old Steven Frieder on saxes. (If you’ve never seen Steven play, it’s NOT to be missed. He is truly exceptional.) Tickets for this are $15 and available from the Turning Point Event Page. Last year’s show was SOLD OUT, so get your tickets early! Please bring canned goods or other non-perishable food items to help our less fortunate neighbors here in the Hudson Valley. As we swing into the New Year 2011, the Mahavishnu Project returns to the Iridium NYC on January 20th with the full-out 11 piece group performing the complete “Visions Of The Emerald Beyond” record. Things are also in the works for us to perform with Jerry Goodman, the violinist from the original Mahavishnu Orchestra, in the spring of next year.
Well, that’s about all the news I’ve got time for at the moment! Have a great holiday, stay warm, stay well. And thanks for your continued support.
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