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Major
Minimalist True story: A few minutes after I popped Philip Glass's Etudes CD into my computer, it started repeating the same two-minute segment of track six over and over. The punch line? "How could you tell?" Philip Glass's repetitive musical idiom has spawned so many japes on various TV shows and websites that the jokes themselves are growing as repetitious as some of his music. Although some of his recent music does indeed seem to be stuck in a groove (to use a pre-CD metaphor), Philip Glass, one of our era's most important artists, has crossed over into pop culture and won new audiences for postclassical music.
Minimalism, which Glass helped pioneer in the 1960s, drew on non-European forms like jazz and Indian music that connected with broader popular audiences than the insular mid-century classical world. Despite his traditional pedigree (Juilliard, study with Boulanger and Milhaud), Glass adopted a pop music model: forming his own ensemble, live tours, playing alternative venues, starting his own record label, working day jobs rather than being embedded in a conservative academic establishment. Glass's startling early keyboard and small ensemble works blew a fresh breeze through the fog of dissonance and density that had enveloped contemporary classical music; stage works such as the magnificent Einstein on the Beach are landmarks of music theater; and his scores for films such as Koyaanisqatsi and many others reveal a master conjurer of musical moods that enhance dramatic action. Although he's easily the world's most popular postclassical composer, Glass is still denied awards and other critical acceptance, which says more about how the academic establishment had grown out of touch with contemporary culture than about his music's value. In fact, Glass's revolutionary return to clarity was only slightly more shocking than similar revolts against complexity in musical history, from the classical response to Baroque style in the 18th century to Erik Satie's anti-Romanticism a century later to Miles Davis's cool and modal jazz of the 1950s, and even the music of John Cage and the punk rockers of the late 1970s. Glass continues to be a major creative force, embracing sounds and collaborators from many cultures, still trying new combinations of music, dance and theater, and exemplifying do-it-yourself artistic rebellion. Glass still frequently performs live, avoiding the trap that snares so many ivory tower composers whose music grows distant from listeners and performers. His Etudes, which he began writing a decade ago, represent Glass in his purest form: haunting, ruminative works that will appeal to fans of classical and pop music alike. Glass will play them and other solo piano music at the Shedd on Feb. 15 — one of the major music events of the year. See our online archive: www.eugeneweekly.com/2006/01/05/bravo.html The Shedd also shows a welcome commitment to local music on Feb. 9, when it hosts the Oregon Jazz Guitar Summit, featuring two of Eugene's own guitar legends, Mike Denny and Don Latarski, as well as Portland fretboard masters Dan Balmer and John Stowell. Among them, this quartet's members have performed with some of the greatest jazz and pop musicians of our time, toured around the world and won acclaim as both teachers and performers. There's more Oregon jazz afoot when two piano trios play the UO music school: Portland's Greg Goebel Trio on Feb. 3 and Toby Koenigsberg's trio on Feb. 10. Guest pianist Sarah Buechner plays a solo recital of music by Debussy, Mozart, Gershwin and others on Feb. 13. In other musical spheres, the Eugene Symphony shows both sides of war in its Feb. 9 concert when the orchestra plays Haydn's rousing "Military" symphony, one of the dozen grand symphonies he composed in London at the end of his glorious career, and Brahms's German Requiem, a secular choral-orchestral song of solace for the survivors of tragedy. On Feb. 15, the great Scot, Dougie MacLean, brings his sharply observed storytelling songs to the WOW Hall. Celtic music fans won't dare miss this one.
The
Musician's Musician
A quick read of Chick Corea's resumé makes it difficult to imagine the musical landscape of the last 40 years without him. The roster of musicians he's partnered or played with is stunningly diverse. But for all of his impressive credits, and with 12 Grammy awards (and at least as many nominations) to his name, it still might be safe to say that Corea has never really achieved true superstar status, at least as measured by the usual pop fame standards. Of his dozens of albums, only one, Romantic Warrior, recorded with the band Return to Forever, has achieved gold record status. Poor Chick. Instead of a short, meteoric flash of fame he's had to settle for a career that has kept him playing music since the early 1960s and has allowed him to graze in whatever creative pastures his muse has led him to. After early stints with Herbie Mann and Sarah Vaughn, Corea became part of Miles Davis' group circa '68-'70, switching to electric piano on the legendary Bitches Brew sessions. In the early '70s, he strayed a bit from his jazz roots to form Return to Forever, which began with the intent of performing samba-flavored jazz then reformed as a harder-edged jazz-rock combo. With the disbanding of RTF in 1975, Corea has spent the interim decades in what basically amounts to a never-ending jam session with the world. Viewed by his peers as a "musician's musician," his career is best described as a series of projects, pairings and groupings. His musical roaming has led him from jazz explorations to Mozart-inspired piano concertos. With his current group, Touchstone, Corea is indulging his longtime passion for Latin music. With Corea on piano, the band features a lineup of world-class Spanish flamenco musicians who are former members of flamenco guitar great Paco de Lucia's band.
Are
We Mad Yet?
Dub has come to mean some pretty strange and sundry things over the last few years. The music that developed in late '60s Jamaica from remixing singles has become more than its own genre. It has influenced and infiltrated rock, electronica, hip hop, house and a whole heap of other contemporary music. You might think of dub as the conscience and soul of modern electronic music and the Mad Professor is its sole purveyor today, at least among the music's originators. Born in Guyana, Mad Professor (aka Neil Fraser) became enamored with American soul and Jamaican reggae music, as well as electronic gadgetry, at a young age. When he was 8 years old, Fraser built his first radio from scratch. It was this same love for the music and production behind it that would later possess the Professor to build his own studio (console, board, phaser, mixer and echo/effects machines) in south London in the late '70s, again, by himself. He named the studio ARIWA (Nigerian for sound). Since then, he has recorded hundreds of albums and singles, balancing the roots of traditional dub reggae with his own genius for innovation. Mad Professor's style is heavier, even busier than that of his musical predecessors. If King Tubby and Lee Perry's sound can be compared to Count Basie in its restrained, spare minimalism, then the Mad Professor sound is an elaborate, sometimes even baroque approach, akin to Oscar Peterson or Duke Ellington. To experience his sound live is the closest many will come to a Jamaican dancehall. Comparable to rave or house music, the Professor's dub is heard and felt, but with a real depth and warmth so absent from other electronic music. Singing over it all on stage will be vocalist The High Priestess Aisha.
Dirty Is As Dirty Does
Shaken, stirred, brisk, refreshing, intoxicating. These words could describe your favorite martini recipe as well as the band Dirty Martini. The name is apropos to the group in many ways. Consider: A dirty martini, the drinkable kind, is a finely balanced concoction of three ingredients; gin, vermouth and olive juice. Dirty Martini is a band of three women, Lara Michell, Stephanie Schneiderman and McKinley (one name). A martini can be presented numerous ways to accommodate a variety of tastes, with a twist, onion or bitters. Dirty Martini also serves it up however you like, tear-jerkin', heart-throbbin' or kickin' in the shins. The martini has dubious origins. Some say San Francisco, some say Martinez, Calif., some say there's an Italian connection via an immigrant bartender named Martini di Arma di Taggia. The three women in Dirty Martini also claim sundry origins; one opened for David Crosby, one graced the Lilith Fair stage and one hails from Carmina Pirhana. A few martinis can lead down the path to temptation and sin. So can Dirty Martini songs. The only way a martini can't compare is that Dirty Martini can turn up the volume, write darkly beautiful love songs that are more vitriol than valentine, and be strong and sassy on stage. And a martini can't drink itself, or play guitar and sing while it's drinking itself, but that's beside the point. Dirty Martini plays at 9:30 pm Friday, Feb. 3 at Luna. $5. —Vanessa Salvia
Woman On the Rise
Kristen Chandler is one woman who knows her passion in life. Chandler's website says she's been singing before she could talk. While that might not literally be true, it does illustrate that her love of singing runs deep and holds fast. Her first formal performance was in front of 600 people when she was 11, and formal voice training followed at 14. Chandler finished high school in 1997, had a baby in 1998, joined Honeybeegroove and sang with her child on her hip in 1999, then began recording with Ancient Youth, Jahkumba and Apple Gabriel. She married her musical and life partner Michael Zimmerman in 2000, after having another baby. Singing solo since 2001, Chandler is finally releasing her debut CD, bird, at Sam Bond's Feb. 4. As a vocalist, Chandler has an amazing combination of innate talent, joy and heart and soul that comes across easily and spontaneously. Playing a mix of her own originals, soul, funk, jazz and R&B spices up the musical gumbo, not to mention that she performs with a full band backing her up with percussion, guitar, bass and piano. Kristen Chandler plays with Elizabeth Cable at 9 pm Friday, Feb. 4 at Sam Bond's Garage. $5. —Vanessa Salvia
The Legends Return Rarely has the power of a backing band been so instrumental in the success of a single musician as The Wailers were for Bob Marley. Following Marley's death in 1981, under the guidance of bassist Aston "Family Man" Barrett, The Wailers pressed on and redefined their sound for a new generation. "I always key my bass playing to who I am backing," says Family Man. "I make sure that they are flowing, that the music is swinging its way around them and that they vocally float on top of that." Now, 25 years after the passing of reggae's greatest legend ever, the band plays on and brings all of their old hits, new material and more around the globe once again. The Wailers and Pocket Dwellers play the McDonald Theatre at 8 pm Wednesday, Feb. 8. $21 adv/$23 dos. — Dan Hoyt
Noodles are the Perfect Japanese Punk Flavor Japan has had its fair share of pop stars, such as Utada Hikaru and Ayumi Hamasaki, attempting to cross over into the worldwide mainstream. But with Noodles, take the cuteness of those ladies, give them instruments, multiply by three and have them drop some psychedelic rock mixed with powerful punk. These girls pull no punches and are blitzing America's indie scene with a crazy yet charming sound and presence that can be heard on their most recent release, Ivy. The band, who call themselves Japan's best "all-girl rock ensemble" and have legions of fans in their home country, recently got off of an American tour with The Pillows and have come back for more despite the recent departure of their second guitarist, Junko. There are no signs of slowing down for these girls, as frontwoman Yoko handles the singing and guitar duties on her own now and bassist Ikuno and drummer Ayumi round out the trio. For those looking for a new taste in music, the sweetness of Noodles just might be the right fit. Noodles play Diablo's with Alter Ego, The Mood and StereoFuture at 10 pm Thursday, Feb. 9. 343-2346. — Dan Hoyt
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