2015 in Review: That's Dancing!

Savion Glover's STePz, Strathmore, Bethesda, Maryland (February 6, 2015)

On the STePz... © Andrea Mohin/New York Times

Savion Glover always brings something new. Unlike any other dancer, this guy makes me sit at attention and, by the end of each performance, my mouth is usually gaping and my eyes are dry from not blinking.

STePz seemed more formal than the other free-flowing Savion Glover shows I've seen. This one celebrated the history of music and dance. It paid tribute to several dance styles other than tap, as everything from classical and Latin to pop blasts through the speakers. Savion performed a moving solo honoring tap pioneer Bill Robinson during "Mr. Bojangles," where he and his shadow evoke the past with Robinson's familiar moves. On the fly after the intermission, he and the three lovely lady tappers accompanying him during the show – Robin Watson, Sarah Savelli, and Lisa LaTouche – decided to sing an acapella verse and chorus of Michael Jackson's "The Way You Make Me Feel."

The show included a few short sets of stairs (the STePz?) on which Savion and the other dancers tapped – sometimes choreographed, sometimes improvised. In one memorable moment, Savion and fellow hoofer Marshall Davis, Jr., battled it out on the steps, mimicking and adding to each other's improvisational beats. In another, the three ladies took advantage of the stairs for some choreographed tapping that saluted other dance styles, like ballet, tango, and jazz. The show ended with the whole troupe dancing to Stevie Wonder's "Sir Duke." They froze at the end in classic superhero poses with one arm punched skyward. On cue, we erupted in cheers – until we had to leave and deal with our delirium at home.

Savion Glover never disappoints me. Here's a taste of the show:

Savion Glover's STePz video © Savion Glover

Alvin Ailey American Dance Theatre, Kennedy Center, Washington, D.C. (February 7, 2015)

From "Revelations" © Gert Krautbauer

Seeing the Alvin Ailey dance troupe is always a good idea. Having said that, my heart was still beating to Savion Glover's taps from the night before when I attended this afternoon matinee, so my memory of it is vague. However, I liked this performance very much.

Whenever the Alvin Ailey company comes to the Kennedy Center, it's booked there for a few days and offers different dances at different performances. This show's dances were created over the course of more than 50 years. "Polish Pieces" first appeared in 1996, "Bad Blood" premiered in 1986, and "Caught" is from 2004. The showstopper at the end of every show this time around was "Revelations," a dance created in 1960 and set to traditional, spiritual music.

What I always remember about Alvin Ailey dance shows is the bodies – how the dancers hold their alignment with precision and move in inventive ways. The music informs the movements, and the costumes accentuate the emotion. "Revelations," for example, sweeps you up as the dancers in full colorful skirts twirl across the stage in unison. Alvin Ailey American Dance Theatre gives you a full experience that touches all the senses through movement and leaves you with something new to talk about afterward. This afternoon's inspiring performance had us singing along, cheering, and clapping for encores.

It's a coincidence that I saw a story about the Alvin Ailey dance troupe on PBS Newshour last night. Correspondent Jeffrey Brown talked to Artistic Director Robert Battle about his aim to take the company in a new direction while honoring its storied past. Check it out:

Historic Dance Company Prepares for New Steps video © PBS Newshour  

Twyla Tharp 50th Anniversary Tour, Kennedy Center, Washington, D.C. (November 13, 2015) 

From "Yowzie" © Kevin Parry

Although I've always known her name, I'd never seen Twyla Tharp's dances until this 50th anniversary performance. "Long ago, I made the choice to mark this point in my career not with events celebrating the past, but with new dances showing what I had learned and some of what I had experienced during this working life," Tharp explains about the show. A short fanfare piece introduced each half of the the program, and while the two halves couldn't have been more different in style or music, they somehow made sense together.

The first half explored Bach's preludes and fugues through balletic moves. During these short piano pieces, the dancers, who were dressed in plain but bright one-color costumes, personified the notes being played. Each entertaining piece was different in the number of dancers and their stories. All were infused with surprising funny moments told through dance. The second half showcased "Yowzie," a performance set to a series of 1920s jazz tunes, many of which I didn't recognize, though I knew the composers, like Jelly Roll Morton and Fats Waller. For these dances, the performers were dressed in bright, patterned costumes and accessorized with headbands or hats. They never stopped moving and sometimes looked like jelly bouncing into and off each other in joyful, controlled chaos.

The innovation Twyla Tharp's choreography is a thrill to watch. I love most that the humor and joy she finds through her work is evident and contagious with every step. Here's a snippet of the show:

Twyla Tharp 50th Anniversary Tour video © Twyla Tharp

Dancing is good for the soul, even if you're just watching. So, go treat yourself to a performance and you might find yourself dancing your way home. 

Finding Neverland and The Real Thing

Hi everyone,

I made two special trips last year to catch some new shows. They were well worth it, so here's the rundown. 

Finding Neverland, American Repertory Theater, Cambridge, Massachusetts, September 12, 2014

Finding Neverland, a new musical based on the 2004 film of the same name, follows author J.M. Barrie (played by Jeremy Jordan) as he becomes inspired by his friendship with Silvia Llewelyn Davies and her four sons to write his next play, Peter Pan. It took me about a half an hour to realize that I was comparing everything in this musical to the movie, one of my all-time favorites starring my favorite actor in the lead role. So, try not to do that when you see this production because it's a very different experience. 

For me, the best thing about Finding Neverland, the musical, is how it showcases the creative process at work. During the musical number called "Circus in my Mind," for example, Mr. Barrie fails to repress his own dark thoughts, out of which comes the character Captain Hook. Inventive choreography by Mia Michaels represents both reality and whimsical fantasy to show the duality and spirit of the writer's task. Directed by Diane Paulus, this show offered a talented cast and creative staging that captured the imagination. 

True, Johnny Depp is not here, but you should see this version of Finding Neverland anyway. The show moved to Broadway this year with stars Matthew Morrison and Kelsey Grammer, and it's still magical.

The Real Thing, Roundabout Theatre Company, American Airlines Theatre, New York, New York, October 17, 2014

I couldn't miss my chance to see one of my favorite actors in person last year when Ewan McGregor made his Broadway debut in Tom Stoppard's 1982 play The Real Thing. He was amazing (and made me weak in the knees), but so were his costars Cynthia Nixon, Josh Hamilton, and Maggie Gyllenhaal (who is a scene stealer with her own brand of awesomeness). Tom Stoppard's clever dialogue was so quickly delivered sometimes that I left the theatre wanting to read through and think about this play a bit longer. That's a sign of a good piece of work, right? 

Aside from the stellar cast, I liked how music was incorporated into this story. Both acts began with the characters singing a song, and the first act ended with Ewan McGregor using a record player, the sound of which began normally but then amplified on speakers to close out the scene. I was also impressed by this show's innovative set. With an added bookshelf or two, some lighting changes, and new sounds, it successfully transported us among different homes and train rides out of town.

This story revolves around the relationships of two married couples, Charlotte and Henry (played by Cynthia Nixon and Ewan McGregor) and Annie and Max (played by Maggie Gyllenhaal and Josh Hamilton). At the start, it's revealed that Annie and Max are having an affair. They divorce their spouses, marry each other, and create a new life together. Two years later, however, Henry begins to wonder whether Annie is being faithful and if their happy ending is really all they expected. Love is complicated!  

This revival of The Real Thing had a limited 4-month engagement on Broadway. Here's information about it to give you a taste. 

Best,

Savion Glover

Hi everyone,

If you think you're not a fan of tap dancing, Savion Glover will change your mind. I first became aware of Savion Glover in the late '80s and '90s when he showed up dancing in Coke commercials. He became more well known after meeting mentor Gregory Hines and winning a Tony for his choreography for the Broadway show Bring In 'Da Noise, Bring In 'Da Funk. You can even find him in some films like Tap, costarring Gregory Hines, and Bamboozled, directed by Spike Lee. If you want to hear more about his life and work, check out this video, in which he talks about his start and mission.

Savion Glover dances like no one else and to see him perform in person is always an unforgettable experience. By now, I've seen him a few times in the D.C. area. He once performed at Howard Theatre with jazz pianist McCoy Tyner accompanying him. After Trayvon Martin was killed, Savion Glover provided an intense, emotional performance at Warner Theatre that commented solely on that tragic event. Most recently, I saw him in two equally amazing, entirely different shows.

Savion Glover, Howard Theatre, Washington, D.C., August 23, 2014

Yeah, I was this close.

For this general admission show, I arrived about an hour ahead of time. Those of us who were early and waited in line in the lobby for the doors to open were treated to hearing Savion Glover practice his routines up to two minutes before the doors opened. 

Because I arrived so early, my seat was in the front row, center, flush with the stage. I'd never been so close, looking up at the dancer as he stares into space and sweats like an athlete. Savion Glover gets in the zone! When he first came out, he picked up a microphone to welcome us but instead started to dance. He continued for at least 20 minutes, holding on to that microphone. When he finally stopped, he greeted us with, "I guess I should say something now." 

During another piece, he and the drummer battled. The drummer played increasingly complicated beats and Savion Glover repeated them perfectly through tap. Another tapper, Marshall Davis, Jr., joined him once in a while during this show, but for the most part, Savion Glover danced solo.

I shared my table with some friendly fellow fans who somehow talked their way into meeting and getting photos with the man! Can you believe I was in with that cool crowd?

         

STePz, Strathmore, Bethesda, Maryland, February 6, 2015

Six months later, on February 6, 2015, Savion Glover performed at Strathmore in Bethesda, Maryland. For this show, titled STePz, my seat was about six rows from the stage. While the other show seemed more improvised, this show felt slick and polished. Set to a variety of recorded music, each piece covered different dance styles, such as jazz, tango, and ballet, and nodded important moments in dance history, including tributes to Bill Robinson and Michael Jackson.

Photo © Lois Greenfield

Compared to the previous show, this one more prominently featured other tappers Marshall Davis, Jr., Lisa LaTouche, Robyn Watson, and Sarah Savelli and group performances, some of which didn't even include Savion Glover at all.

Toward the back of the stage, a center platform with three steps leading up to it was flanked by two pyramid-style steps on either side. In one piece, Savion Glover and Marshall Davis, Jr., took on the pyramid steps, having a conversation through their taps. In another piece, the ladies saluted Broadway and jazz in glittery costumes with a routine featuring the stairs. Savion Glover shined during his solo tribute to Bill Robinson, during which he mimicked the hoofer's signature dance moves and walk. During another piece, he and the other dancers stood in a line spanning the stage while dialogue played on the stereo, he tapped with one foot at warp speed without moving the rest of his body. (It wasn't until at least half way through that I realized who was doing the tapping.) The show culminated with the entire group dancing to Stevie Wonder's "Sir Duke" in a routine that ended with all of them in a super-hero pose – one arm stretched high, punching the air and striving for higher ground.  

I can pick more adjectives, like spectacular, exhilarating, magical, and awesome, but you have to see this guy for yourself. While video can barely capture the energy in the room when experiencing Savion Glover in person, here's a taste of STePz:

YouTube video, © Savion Glover Productions, Savion Glover's STePz: https://youtu.be/EDC8U0k1nNg. 

What are you waiting for? Go see Savion Glover when you can! He'll change your life for the better.

Best,

2014 New Moves: Symphony + Dance Festival

Hi everyone,

Last year, an email from The Kennedy Center caught my eye. It advertised an upcoming National Symphony Orchestra (NSO) performance that included music from Leonard Bernstein's On the Town and On the Waterfront, complete with dancers. On the Town is one of my favorite Gene Kelly movie musicals about three sailors on 24-hour leave in New York City. This performance was one of three that comprised the Kennedy Center's two-week New Moves: Symphony + Dance Festival. By the end of the night, I had decided to attend all three of the New Moves performances. Here's how they went.

NSO Concert #1. William Shuman, Marc Neikrug, and Leonard Bernstein (May 8, 2014)
For this performance, I got a cheap seat in the front row of the first tier's right-side balcony and had to lean forward to see more of the stage. I couldn't see some of the performers because of the extreme angle of my seat. Note to self: next time, pick a seat on the floor in the center for a straight-on, full view.

My first surprise of the night was that the dancers only performed during selected pieces of the choreographers' choosing. The first half of this show was music only.

William Schuman's "New England Triptych" was a collection of interesting sounds without much melody. It used lots of horns, making it seem very patriotic at times. I liked parts of it, particularly the second movement but, as a whole, it was too modern for my taste. The next piece, "Bassoon Concerto" by Marc Neikrug, had more promise from what I read in the program notes: The composer tried to steer the instrument away from its comical reputation, it explained. Soloist Sue Heineman was great at playing the bassoon, but I still couldn't take its sound very seriously. The bassoon makes me think of cartoons.

The second half included the music I came for and the dancing. The three dance episodes chosen from On The Town were randomly selected from the Broadway show. Although not the same as the movie that I know so well, I recognized and was excited by the music they played.

My second surprise was that the dancing was nothing like Gene Kelly's choreography, a revelation that disappointed, confused, and pleased me all at once. As in the musical, six dancers (from Keigwin and Company) – three girls and three boys – portrayed the sailers and their newfound girlfriends, but that's where the similarities ended. The barefoot dancers were full of New York energy and used the entire length of the 16-foot-by-80-foot extension of the stage in front of the orchestra. It was real-life Cinemascope. (This is where my skewed view became problematic.) I liked the On the Waterfront dance even better, probably because I was less familiar with the music and had no dance routines already memorized.

My third surprise came after the show ended. The performance I chose to attend was followed by a free "After Words" session, a discussion and question-and-answer opportunity moderated by NSO Director of Artistic Planning Nigel Boon with the guest conductor Tom Wilkins, composer Marc Neikrug, bassoon soloist Sue Heinman, choreographer Larry Keigwin, and Kennedy Center Director of Dance Programming Meg Booth.

Learning from choreographer Larry Keigwin (who choreographed Broadway's If/Then) that the Bernstein family and trust forbid copying of any of On the Town's original Broadway show or movie musical choreography made me appreciate his work more. "It was freeing, in a way," Mr. Keigwin said of the restriction. The biggest challenge, however, was rehearsing in a 30-foot long New York studio for a performance in an 80-foot long space. "But I had the dancers go through it five times when they got here," he shrugged. Discussions with such creative people always inspires me, so I made a point to attend the festival's next two performances, including the "After Words" for each.

NSO Concert #2: George Gershwin, Samuel Barber, James Oliverio, and Duke Ellington (May 13, 2014)
Another reason I decided to attend the remaining two performances was that the lineup of this second concert sounded even better than the first. The promise to play selections for orchestra from George Gershwin's Porgy and Bess and a few others tunes by Duke Ellington was enough to convince me. This time, I bought a pricier ticket for a better view on the ground floor in the center section, about 10 feet from the stage.

The only music I recognized at this concert was George Gershwin's, but I liked everything I heard. The excerpts from Gershwin's Porgy and Bess had me singing the songs in my head. Next, Samuel Barber's "Souvenirs" was a series of pieces that explored dance styles, including the waltz, tango, and two-step. I wanted to see dancers with it, but that's not what the choreographer chose.

The final piece of the first half of the show was Timpani Concerto No. 1, "The Olympian," featuring NSO's principal timpanist Juavon Gilliam. Through this concerto, composer James Oliverio wanted to create a piece where the timpani deserved a place in the front as virtuoso soloist. "I wanted to stretch the instrument," he said. So, those giant drums that typically stay in the back of the orchestra were now spotlighted up front. The hardest thing for the musician was finding all the drums he needed to perform the piece; some were his, some were borrowed, and some belonged to the NSO.

Perched on a swivel chair, Mr. Gilliam was surrounded by eight drums of different sizes. He maneuvered in his chair as if it were an amusement park ride, constantly hitting pedals with his feet and tuning the instruments while he banged on them, sometimes to carry the melody of the piece. It was a sight to see from 10 feet away, a great showcase for an instrument that's usually relegated to the back and only assigned a few notes during high-impact moments. Mr. Gilliam practiced this piece for months in the Kennedy Center basement. He even brought in a TV so that he could catch some basketball games while he worked, yet he downplayed how effortless his performance seemed: "I'm just trying to hit the right notes at the right time."

The second half of the show was all about Duke Ellington. "Giggling Rapids" from The River was a wonderful, fast-paced whirl of a song, after which guest conductor Tom Wilkins – who conducted all three of these concerts – turned to us to let us know when we could start clapping, "That's all we got," he nodded. (This conductor, from Nebraska, was cool! You could tell because he wore black socks with bright, wiry vertical stripes. He told us that he'd wanted to be a conductor since he was 8 years old.)

Two pieces from Three Black Kings followed, "King of the Magi" and "Martin Luther King." While unfamiliar to me, they were unmistakably Duke Ellington's. The final piece, called "Harlem," included dancers from the New Ballet Ensemble in Tennessee. The New Ballet Ensemble is a youth development program that provides arts education after school and beyond for kids who can't afford it. The nine dancers representing the company on stage were of all ages. Inspired by a New York performance she saw of Martha Graham's dance for "Appalachian Spring," choreographer Katie Smythe had the performers portray different personalities through dance styles to paint a diverse portrait of the Harlem scene. She gave the dancers some leeway to improvise at times and noted that using live music makes all the difference. "It gets in your blood and your bones and your heart and the goosebumps on the top of your head," she explained. "You can't do that with recorded music."

No one in the room could help being inspired and humbled by the New Ballet Company's mission and exhilarated by the joy and exuberance of these dancers and the music. Not only was this my favorite concert of the three, but this was my favorite performance. When planning the evening's program, conductor Tom Wilkins said that he and NSO Artistic Director Nigel Boon knew they found a combination of pieces that worked really well together: "We were walking out of the building last week going, 'We're geniuses!'"

NSO Concert #3. Michael Daugherty, George Walker, Aaron Copland, and John Adams (May 16, 2014)
This concert was the great unknown. I was unfamiliar with the composers, but I bought a ticket anyway, confident that they wouldn't let me down. This time, the Kennedy Center emailed me a coupon to access the most expensive seats in the house at a cheap-seat price. I'll take it!

Michael Daugherty's "Red Cape Tango" from Metropolis Symphony was the first and my favorite piece, capturing the comic-book death of Superman. I could see it happen thorough the dramatic sweeping sounds, complete with church-bell chimes. "Sinfonia No. 4 (Strands)" by George Walker is modern and a little frantic. "Appalachian Spring" by Aaron Copland, which is probably the most popular piece of the bunch, easily sparks the imagery its title suggests.

All three of these pieces have been paired previously, and some famously, with choreography. So, choreographer Jessica Lang chose to work with her dancers on John Adams's "Violin Concerto," which had no such familiar connections. Her modern, unique creation began in the chorister seats above the stage. The nine dancers moved among the rows, sometimes in unison and other times not, at a slow pace while violin soloist Leila Josefowicz frantically played her instrument as if it were a race to the finish. She told us later that she's played the concerto so many times now that people have started asking her why she continues to revisit it. "If we said that about Beethoven of Brahms," she countered, "we'd never have any performances." Well played.

The dancers made their way down to the stage after the first, 15-minute-long movement, continuing with random sculptural moves that only dancers can achieve. It was so impressive that many of us, mesmerized by the performers in front of us, lost track of the music.

During the "After Words" discussion, some audience members complained that the dancers, while amazing, distracted them from the music and musicians. But composer Tom Wilkins advised, "Don't cheat yourself out of a new experience just because you like one more than the other. Just treat it like dessert." One audience member had another solution, "Come back tomorrow and see it again." I was all for that idea.

The goal of the New Moves: Symphony + Dance Festival was to mix things up. While sharing the diversity of American music, it brought the performing arts of music and dance together. The festival erased categorical lines and instead embraced connection and collaboration. One audience member summed up our enthusiasm about this experiment well: "I'm excited that the Kennedy Center is fusing the communities, taking time out of your normal schedule – normal for the Kennedy Center – and painting a door for that child..."

Just inspiring one person to think outside the box would make this festival a success, but I can attest that it inspired many. Here's to the next New Moves: Symphony + Dance Festival, whenever that may be. See you there.

Best,


Credits: NSO Concert #1 dance photos © Kyle Manfredi; photo of Juavon Gilliam courtesy of Kennedy Center; NSO Concert #2 photo © Scott Suchman; NSO Concert #3 photo © Takao Komaru 

See You at 930!

Hi everyone,

After a long winter, springtime makes me itchy to get outdoors. As luck would have it, 930 club offered me some enticing options last year. 930 is a small, no frills, standing-room-only venue that holds about 800 people. Sometimes I arrive really early to ensure a front-row spot by the stage. Other times (and more often these days), I arrive really early and head upstairs to the balcony, where 1) there's a railing to lean against and 2) the sound seems clearer. These things and comfortable shoes are important.  I usually forget that I've lost feeling in my feet because 930 shows are usually great. Here are a couple from last May.

The Both, May 2, 2014

I didn't know about this band until Jimmy Fallon told me. Flipping channels one night, I checked the late shows before heading to bed. Aimee Mann, whom I've loved since her Til Tuesday days in the '80s, was on The Tonight Show with some guy I didn't recognize. After their performance, Jimmy Fallon said that, from there, they – The Both – were headed to Washington, DC. Excited, I investigated and planned to go. Thanks, Jimmy!

I've seen Aimee Mann a few times on her own. We must have similar tastes because I always like her opening acts. For this concert, it was Nick Diamonds of the band Islands. This guy also has good taste: he covered "Are You Sleeping" from Harry Nilsson's The Point, one of my favorite albums as a kid, and flooded me with childhood memories. 

The Both tour supports the band's self-titled debut album. The second half of The Both is Ted Leo. I didn't know him, but lots of people at the concert did. Like the Sting and Paul Simon shows, there were distinct groups of Aimee fans and Ted fans in the audience. One of my friends who had already seen them on tour warned me that it wouldn't be like an Aimee Mann show. It wasn't; The Both is rockier. Aside from songs from their new album, though, they sang a couple of their solo songs for us too. 

I had a lot of room around me, leaning against the balcony railing. People on both sides were sitting behind me more toward the wall and never closed in toward the front. As I scanned the crowd below, my good fortune was spotted by a group of talkers who were all Aimee fans, ventured upstairs, and surrounded me. After every song, they gushed about how wonderful she sounded, how beautiful she looked, and declared their undying love. Then they left in the middle of the show to meet up with someone they'd been texting for drinks somewhere else. Right after they left the building, Aimee sang "Save Me," her Oscar-winning song from the film Magnolia, and a part of me was glad they missed it. (The rest of me was bewildered by them leaving.)   

Ted and Aimee make a complementary pair, and the best part of this show for me was actually all of their talking. Apparently, Ted and Aimee have been friends for years – and you can tell, watching them together on stage. It was like listening in on a long chatty phone call. I'd never heard Aimee Mann talk so much. At the start of our show, she mentioned their San Francisco show, where they talked for 25 minutes before realizing they hadn't played any songs yet. She said that wouldn't happen tonight because her brother was in the audience and warned her that he'd probably have to leave early. ("He has kids," she explained.) So, they got started pretty quickly. Throughout the concert, they hit a bunch of interesting topics, like bathroom graffiti and Ted's secret fanaticism for The Hobbit. (He even sang part of a song from a TV cartoon version of the story.)

During the encore, Aimee got heckled by a feisty group who wanted her to play one of her own songs (which I didn't know) called "Red Vines." She politely refused the request because, at The Both shows, she and Ted made a pact to sing every song together, and Ted didn't know this song. "I'm not doing this to be mean, but we're not doing the song," she said. They kept yelling for it, and Ted walked over to Aimee and whispered something in her ear: "Ted's telling me to give in to peer pressure," she reported.

Although she still didn't want to play it alone, she got frustrated by the drunken yelling and bargained, "I will sing the song if you just stop yelling. You can't yell again for the rest of the night – no noise!" (When they broke this rule later, she stopped them short.) I couldn't believe that she put up with these obnoxious fans, and I considered protesting accommodating their demands. Ted broke the tension by saying he could try to play the song; then, she was happy to do it.

It turned out to be wonderful because Ted Leo really didn't know the song at all. We witnessed a first rehearsal. He borrowed a cell phone from the sound guy to find the lyrics, and they started to play "Red Vines." Aimee suggested that she could start the song, and he could come in after the first verse. At the end of the first verse, though, she said, "You look like you need your reading glasses." They were in his dressing room, but someone in the audience saved the day. "Oh my God!" Aimee exclaimed, "Someone just threw you their reading glasses!" He put them on, gave us the thumbs up, and they started again. In the end, he mostly stumbled through backing vocals by watching what she was singing. As soon as the song was over, Aimee threw her head back laughing and we all cheered at the effort. What great performers under pressure!

Here's a song from The Both called "Milwaukee," which captures their goofiness and guitars.

You Tube video: "Milwaukee" by The Both (© The Both): https://youtu.be/VqSYzOXkthg

Elbow, 930 club, Washington, DC, May 11, 2014

Elbow is a British band from Manchester that I heard during a fashion show that I watched online. Halfway through it, I realized I wasn't paying attention to the fashion but the music being played in the background. Shortly after that, Elbow showed up in DC at 930 while on tour  supporting their hit album (the one I heard during the fashion show) called The Seldom Seen Kid. Their popular songs from that album include "Grounds for Divorce" and "One Day Like This." A friend, who had never heard of them before, looked them up and joined me then based on what she heard online. Still devoted fans, we saw them again when they returned.   

Aside from writing great songs, Elbow is sincerely friendly, which I always appreciate from performers. Our concert was the first stop on their new tour, supporting their latest album, The Take Off and Landing of Everything. They dedicated a song to 930's staff because, lead singer Guy Garvey said, everyone they've worked with at the club is nice, and playing this venue is always a highlight for them. He also mentioned two friends in the audience, Lois and Dennis, who'd been championing Elbow since the beginning. He pointed them out, in a special balcony spot above the stage. It's refreshing to see nice people make it as successful rock stars.

I love that Elbow uses strings and horns in their alt-rock songs. They always offer interesting melodies, surprising sounds, and wonderful harmonies. Guy Garvey's voice sounds a lot like Peter Gabriel, but Elbow have their own fantastic sound. I liked their new songs immediately but was apparently late to this party. Everyone around us already knew all the lyrics and sang along. By the end of the concert, this behavior was the norm, and the crowd drowned out Guy Garvey's voice at times. After the show was over, my friend shook her head, "Man, they have some crowd-pleasing songs." That's the truth.

Here's a video for "New York Morning," which is on their latest album and features Lois and Dennis! See how nice Elbow is?

You Tube video, "New York Morning" by Elbow (© Elbow): https://youtu.be/cqnIbueM5fE

Catch these bands on tour when you can. They rock!

Best,


Credits: The Both band photo © Christian Lantry, album cover: SuperEgo Records; Elbow band photo © Tom Sheehan,  album cover: Fiction/Concord  

The Wainwrights Strike Back

Hi everyone,

You might remember that I saw Rufus Wainwright with his sister Lucy in concert at 930 club for the first time in 2013. It was so fantastic that I vowed to see them whenever they returned. Last April, they did, performing at Lincoln Theatre this time. This historic venue is located a few blocks away from 930 and is owned by the same people. Lincoln Theatre is bigger and  fancier than 930 and therefore, to me, seems better suited for Rufus Wainwright. By this time, I'd met a friend who has been a fan of his for years and had seen him in concert many more times than me. She joined me for this show, and we scored a pair of VIP seats in the left-side stage-level box located about a foot away from the performance space. We were already thrilled, and the show hadn't even started yet.

Like last time, Lucy Wainwright Roche opened the show in her delightful way, discussing random topics and asking if we had any questions or comments between songs. At one point, she mentioned Ben's Chili Bowl and how she didn't have a chance to eat before the show. Someone in the crowd offered to get her some food, and a debate began among audience members about whether to get her meat or vegetarian chili. Then she talked about recently playing at Jammin Java in Vienna, Virginia, but no one showed up. She asked us where she should play next time to ensure a full audience. This started another debate with people yelling out various venues and reasons why they're good and bad. She stopped us and suggested that we think about it until after the show and then discuss it some more. I think these kinds of things probably only happen in D.C.

Lucy's voice is very pure and clear, which is what I love about it. I'd also seen her on her own at The Kennedy Center and am always entertained by her stage presence and moved by her songs. When she stops by your town, you should definitely go see her. Here's one of her songs, "Last Time," to give you a taste:

You Tube Video: "Last Time" by Lucy Wainwright Roche (https://youtu.be/zOXtC9-ps7g) 

After she finished her set, Rufus Wainwright made a grand entrance onto the stage, wearing an amazing full-length cream-colored silk John Paul Gaultier coat with red floral embroidery, sequin, and other sparkly beading. He said he saw this coat at a party, put it on, left with it, and had been wearing it at concerts for about year now. I could have gone home after this and been happy, but there's more!

Rufus Wainwright has an amazing voice and great musicality. The uniqueness of his songs always surprises me. He sang a few of them and then started playing a dramatic, classical, tornado-like concoction on the piano. The lights flickered and swirled as he told us a story about walking downtown late one night, seeing someone come out of the shadows, and trying to make out who it was....

Then, Liza Minnelli showed up. (It was really Lucy dressed like Liza, but we went with it.) She was led out by masked man in a tux as Frank Sinatra's "New York, New York" blasted out of the speakers. They sang a song that Rufus wrote as tribute to Liza Minnelli called "Me and Liza." (The whole thing went something like this, but in English.)

Afterward, he left it to "Liza" to entertain us while he tuned his guitar. In her typical fashion, Lucy asked us if we had any questions. No one really did, and Rufus couldn't believe it: "I know you're all into politics, but this is a real opportunity here," he told us. "This is Liza Minnelli! This is show biz!" (He emphasized this with jazz hands!) Some people began asking goofy questions about Liza's recent appearance at the Oscars and host Ellen DeGeneres's jokes about her. Finished tuning, Rufus took control of this situation –
Rufus: "What was it like having Judy Garland as a mother?"
Liza/Lucy: "Fabulous!"
Rufus: "Okay, let's sing a song."

At this concert, he sang a bit of everything: hits like "Vibrate" and "Out of the Game," new songs like "Argentina" and "Friendship is the Wind," and even pieces from his opera Prima Donna. Among all this entertainment, the highlight of the show was "Candles," a song for which Rufus put his guitar down and silently walked up to the microphone. He sang it acapela, and the song came out of him in every direction, with his entire body swaying like a car dealership's airdancer on a windy day. When he finished, we were silent until one guy among us said, "Whoa." That sparked our eruption of cheers. It was pretty spectacular.

This isn't quite as mesmerizing as the D.C. version, but here he is singing "Candles" in San Francisco in Davies Symphony Hall, June 9, 2013:

You Tube video: Candles by Rufus Wainwright (https://youtu.be/S2p06Atb-i4)

Are you a fan yet?  Catch these two on the road when you can, and you will be.

Best,

Twice the Sting

Hi everyone,

Did you know that Sting has the flu with a high fever? Under doctors' orders, he's canceled two shows in New York this week. It's a good thing I waited a year to talk about these concerts to hold you over until he's feeling better.

You all know how devoted I am. Last year, he planned two different local shows two days in a row, so it was my best week ever. First up was a charity performance he shared with "very special guest Paul Simon" at Strathmore in Bethesda, Maryland, which benefited the Duke Ellington School of the Arts. The next night, Sting and Paul Simon performed at Verizon Center in D.C. in support of their On Stage Together tour. I was torn about going to both shows: Must I? Will they be the same? Will it be worth it? Of course!

The first show was on Wednesday, March 12, and I came down with a cold two days before the event. I gave myself a deadline to be rid of it before the first concert. Wednesday morning, though, I was unsure whether I could get out of bed, never mind to Bethesda! But I did get out of bed, put in a full day of work at home, and miraculously felt pretty healthy by afternoon. That's it: Sting has magical powers!

The Performance Series of Legends for the Duke Ellington School  of the Arts: Sting and Very Special Guest Paul Simon, Strathmore, Bethesda, Maryland, March 12, 2014

When I arrived, through hurricane-level rain, I was greeted with a program. The cover read, "Sting and very special guest Paul Simon and [previously unannounced] legendary musician Stevie Wonder." I nearly fainted. It was short-lived delirium, though: at the start, they announced that Stevie Wonder had to cancel his appearance in order to attend a funeral. That's an understandable excuse. Then the music started and I forgot that I was disappointed.

The Duke Ellington School of the Arts serves 9th to 12th graders who are immersed in a full academic course and an arts major, which could be dance, literary media and communications, museum studies, instrumental or vocal music, theatre, technical design and production, or visual arts. While this annual event is a wonderful and worthy cause, the organizers really drilled it into our heads that they wanted more money from us than the cost of our ticket. They reminded us before, during, and immediately after the show, which killed a bit of my concert-induced euphoria. I started to feel like I was watching PBS during pledge week or attending an amateur high school fundraiser. But they have to do what they have to do: the arts are essential, so support this amazing school!

Strathmore provides a beautiful blonde-wood-filled concert hall with fantastic acoustics. Despite its three levels of seats, the space is intimate with great views from any spot. My seat was in the second row of the top level, and I still felt relatively close to the stage. Let's get to the main event!

To start things off, the students of the Duke Ellington School for the Arts performed in an orchestra, sang in a small choir, and danced on stage through two of my favorite Police songs. "Demolition Man" included a spectacular guitar solo and four dancers. "Synchronicity" had 20 dancers performing on stage, at first, in pitch black to show off their glowing, blinking shoes. These kids were so bright and joyful, they lit up the room, lifted our spirits, and let us know what made this evening so special.

Next, they accompanied Sting as he sang three of his songs ("Englishman in New York," "Every Little Thing She Does Is Magic," and "Driven to Tears"). Impressed, he suggested that they help him out tomorrow night too, but they left the stage, and Sting played with his own band. Paul Simon shared the stage with him sporadically. They sang some songs as duets, like Sting's "Brand New Day" and Simon & Garfunkel's "The Boxer." They also traded songs; for example, Paul Simon sang Sting's "Fragile," and Sting sang Paul Simon's "America."

That was one of my favorite parts: Before singing "America," Sting reminisced about coming to this country, aiming for stardom with The Police. He felt driven but uncertain, anxious, and excited about the future. "America," which was playing on the radio during that time, captures all those feelings for him. He sang a quiet, acoustic version of it, which was beautiful and moving, and then he transitioned into a fully electric version of "Message in a Bottle." The Police have arrived!

All that emotion was released during the next song, "Desert Rose," which Sting infused with Bollywood sounds. I loved this new arrangement, but the best part of this song on that night was watching a lone fan – a big black guy who was built like a football player  dancing up a storm in one of the front balconies.

After that, the choir kids returned and sang "Bridge Over Troubled Water" with both Sting and Paul Simon. During this song and "The Boxer," their harmonies blended beautifully. The woman next to me, who was clearly a big Paul Simon fan, got very excited when this song started, and her friends all knew that this was her moment. When the kids began singing its chorus, the song transformed into gospel, and she burst into tears and cried through the rest of it. She even got Kleenex out of her purse.

Sting and Paul Simon ended the show with another duet, "Every Breath You Take." Always a crowd-pleaser, this song capped off an inspiring night! As we gathered our coats, I wanted to ask the woman who cried if she was all right, but instead I asked if she enjoyed the concert. "So much!" she said. "Just seeing them with the kids, it's like....The kids are amazing!" Agreed! That's what it was all about.

Here's a short synopsis about this charity event, which gives you a glimpse of how it went:

Courtesy of Branden Kownacki, You Tube video: https://youtu.be/GakfTI7kZwQ

Paul Simon and Sting: On Stage Together, Verizon Center, Washington, D.C., March 13, 2014 

The next night, I felt even healthier. The Verizon Center is a huge stadium, where the Washington Wizards and other sports teams play. These stadiums are pretty impersonal but I go when necessary.

Singing together at Beacon Theatre, New York, 2011

I was immediately struck by how different this performance was compared to the night before. It was bigger and better to fit the enormous space and satisfy the massive crowd. Sting and Paul Simon have been New York neighbors for years, and the idea for touring together came to them after they performed together at Sting's 60th birthday concert at Beacon Theatre in New York, a charity event which benefited the Robin Hood Foundation. (I was there!) Sting described their On Stage Together tour as a musical experiment that merged their bands and musical styles together. Both of their bands shared the stage. This combined group of excellent supporting musicians excelled in the energetic atmosphere, creating music that was full, all-encompassing, and infectious.

As they did the night before, Sting and Paul Simon sang duets and traded songs. While last night's show was more Sting-centric, Paul Simon sang many more of his songs during this concert, balancing out the number of compositions between the two of them. The distinction between Paul Simon fans and Sting fans was much more prevalent too: Groups of us danced and cheered during Sting songs while others sat stone-faced, quietly waiting for a Paul Simon song, and vice versa. Some of Paul Simon's songs were new to me, but I knew most of them, so I sang and danced through it all. This concert was like a joint greatest hits celebration.

On the Sting side, new from the previous night were: "Fields of Gold," "Hounds of Winter," "They Dance Alone," and "Roxanne." I was so excited about "They Dance Alone," a slow song about political prisoners that Sting includes on his 1987 ...Nothing Like the Sun album. I know what you're thinking, but it's an amazing, uplifting song that changes tempo toward the end to signify hope and resilience. Amid my sea of oblivious Paul Simon fans, I longed to be with a group of girls I saw in the middle of the stadium who were dancing in the aisles – as you should by the end of that song.

My favorite thing about Paul Simon is his sense of humor. I think I remember him more from his stints on Saturday Night Live than from his music. This concert reminded me of all of his great classics and introduced me to some new one. Among the hits he performed that night were "The Boy in a Bubble," "Mother and Child," "50 Ways to Leave Your Lover," "Graceland," "Still Crazy After All These Years," "Me and Julio Down By the School Yard," "Diamonds on the Soles of Their Shoes," and "Call Me Al."

Sting and Paul Simon shared the same duets as the night before, like "The Boxer" and "Bridge Over Troubled Water," but Strathmore's intimacy trumped Verizon's arena setting. Here, they also threw in some songs written by other people, like Paul Simon singing "Wheels" by Chet Atkins.

They performed the second of two encores without their bands. Paul Simon said, "The idea for this tour started with two voices and two guitars, so we felt the show should end that way." In honor of Phil Everly, who passed away in January, they sang an acoustic version of the Everly Brothers' "When Will I Be Loved." After such a vibrant, energetic show, this quiet song reminded us of why we were all there. Blended together, these voices and combined musicianship guarantee an unforgettable musical experience.

Sting and Paul Simon's On Stage Together tour is in Europe right now. If they are coming to a town near you, get your ticket!

Feel better soon, Sting!


Credits: Duke Ellington School of the Arts benefit  poster: courtesy of Strathmore; video courtesy of Branden Kownacki; Image from Strathmore performance: Kyle Gufstafson/WashingtonLife.com; Beacon Theatre image: Andy Kropa, Invision/Associated Press; Image from On Stage Together tour show in Houston, Texas, February 2014: Kevin Mazur/WireImages; On Stage Together tour poster: LiveNation

All That Jazz...

Hi everyone,

I got my ear for jazz from my dad, who has always listened to it. Whenever he visits me in D.C., we make sure to see a show. Whenever someone tells me that they don't like jazz, I wonder if they've ever experienced it. Being in a tiny club, only a few feet away from talented, passionate musicians and seeing them get lost in their music is different from listening to them play the same song on a CD. Instead of focusing on the performer, jazz focuses on the instruments. They all get their solos and may fly off on their own at times, but they always reunite in unexpected ways to play together again. Each show is unique, shared only with the rest of the audience. Here are some jazzy highlights from 2014.

February 21: Kris Funn (bass) and Cornerstone, Bohemian Caverns. 

I first saw bassist Kris Funn playing a free performance on the Kennedy Center's Millennium Stage. I was there to see another bassist, Ron Carter, and just happened to catch Kris Funn because of my early arrival. He looked like a lanky 12-year-old next to his gigantic upright bass but had magic fingers that blurred while he played. I became an immediate fan, so when I read that he'd be performing at Bohemian Caverns, I even convinced some friends to come with me. Bohemian Caverns has a cool cave-like atmosphere that impressed them, and Kris Funn and Cornerstone impressed us all even more. Keep an eye out for this up-and-comer and, some day soon, you'll be able to say you knew him way back when...

Check out Kris Funn's Music page for performance video clips.

May 23: Ron Carter (bass), Bohemian Caverns. 

A few days after I got hired for my current job, my supervisor discovered that I knew about jazz because I recognized Thelonious Monk on the cover of one of her books. I explained that he was one of my dad's favorite jazz musicians. Because of this revelation, she began inviting me to jazz shows, and 74-year-old Ron Carter – the most recorded bassist of all time – was one of our first outings. "You've got to see this guy," she said. Immediately after the show, I called home, "Dad, you've got to see this guy!" 

Now, we always see Ron Carter whenever he's in town. He's a class act, a professional who has lived his music. One time, after a set, I ran into him going out the front door for a smoke. That was exciting. At this show, last year, he plugged his just-published biography, which he asked up to buy so that he wouldn't have to lug all of the copies around with him. I dutifully bought one and, as he signed it, mentioned that I was a big fan and see him every time he's in D.C. He stopped mid-signature, looked me in the eye, and nodded a sincere thank you. I'm relieved that his stare wasn't concern about a stalker; the police haven't come for me yet. All I meant by it was that when you see Ron Carter on the calendar, you've got to see that guy.

Browse the Videos page on Ron Carter's website for performances and interviews. 

May 24: Sharon Clarke (vocals), Blues Alley. 

The day after my dreamy experience with Ron Carter, Dad and I saw Sharon Clarke, who we had first heard in Westminster Presbyterian Church in Southeast D.C. The church's Jazz Night is every Friday (with a buffet). Dad and I both saw Sharon Clarke's name on Blues Alley's calendar and mentioned it to each other: "Hey, isn't that that lady..." Jazz night at Westminster Church has a line up of performers, and Sharon Clarke was one of many. Her voice and presence got our attention in the somewhat chaotic atmosphere of regulars focused on their trays of food and catching up with their friends with the latest local news. 

Unlike Westminster Presbyterian Church, Blues Alley is a listening club so, during performances, talking above a whisper is discouraged and cell phone use is blasphemous. You're supposed to be quiet and attentive to the musicians. When Sharon Clarke started singing there, though, the feisty church atmosphere returned: the show was practically a stand-up comedy routine, only with lots of singing. Everyone laughed heartily at all her jokes, called out commentary about her anecdotes, and sang along to her chosen standards, many of which I didn't recognize. Many of those that I did recognize were unexpected songs that I couldn't imagine her performing. For example, I was afraid she'd ruin "Hey Joe," my favorite Jimi Hendrix song. But Sharon Clarke's got style, and she made this and all of the other songs she sang that night her own. "Hey Joe," seemed like a strange choice for the last song of the night, but her growled rendition was so exciting that may people stood to cheer, sing, and dance along. She bedazzled us; I guess that's what divas do. 

I don't think Sharon Clarke has a website, but I found a video of her here to give you an idea of her lovely voice. Google her for more. Sharon Clarke just participated in the mid-Atlantic Jazz Festival in Rockville, Maryland, February 13-16, 2015. I'm sure she'll pop up again somewhere soon.

June 27: Ginger Baker (drums) Jazz Confusion, Howard Theatre. 

A couple of years ago, I saw a fascinating documentary about Cream drummer Ginger Baker called Beware of Mr. Baker. It revealed his talent and temper, and when the documentary ended, I recommended it to Dad (and all my other friends who are into music). "I always thought Ginger Baker was talented," Dad said. "On those Cream records, I always noticed the drums." Because Ginger Baker's lived in Africa for so many years, his music has evolved with a unique African flavor. Surprised to discover that he is still touring, I considered making a quick trip to New York to see him at an upcoming gig. I talked myself out of that, so luckily, Ginger Baker came to me!

Howard Theatre shows are general admission, so I convinced Dad that we should arrive early. We joined a handful of hippies who were apparently more eager than me. When we were seated, we were surrounded by hippies who seemed trapped in the '60s. Dad joked that I was the youngest person there, but I think it was true. 

When Ginger Baker first shuffled feebly on stage, he got into his seat behind the drums and welcomed us with, "I'm not feeling very well today, so we'll see how this goes." Throughout the performance, he introduced songs, saying things like, "My doctors told me not to come, but here I am because I don't let people down." And, "We'll try to play this one. This one might be it. This one might be the Baker killer." (Concerned, I Googled Ginger Baker's age and health status during the intermission in case we should find a doctor in the house.) My favorite moment of the show came when, amid mumbling a tale about his hard life that inspired his next song, a guy from the audience yelled out well-intentioned encouragement: "We love you, Ginger!" In response, Ginger snarled, "Aw, stop yelling! Just shut up and listen to the music!"

When Ginger Baker played his drums, he transformed. His posture straightened, his focus sharpened, and he became years younger before our eyes. When he finished a song, he shrank back down, heaving, wheezing, and when helped out of his seat, wobbling on his feet. He played every note perfectly and with every bit of energy he had, making this one of the most memorable concerts of the year. Don't worry, he's not dead yet. 

Find a ton of Ginger Baker performances through his website archive. Hot off the presses: Ginger Baker Jazz Confusion is scheduled to return to Howard Theatre on June 19, 2015. Get your tickets, mark your calendars, and see you there!

August 16: Ellis and Delfeayo Marsalis (piano and trombone), Bethesda Blues and Supper Club.

I went to this show with a group of strangers. For the first time, I joined an event with the Washington Jazz and Blues Meetup Group. I'd never been to the Bethesda Blues and Supper Club, a large renovated movie theatre, and now I can recommend it – especially when any member of the Marsalis Family is in town. Father Ellis Marsalis, Jr., plays the piano. Son Delfeayo Marsalis plays the trombone. Most familiar with Branford and Wynton Marsalis, I'd never seen these two family members before. This fantastic show, sprinkled with the music of their hometown of New Orleans, included old standards like "My Funny Valentine" and surprises like the theme from "Sesame Street." The Marsalis Family is cool like that.  

Check out Delfeayo Marsalis website's Videos page for performances.  

September 26: Terence Blanchard (trumpet), Blues Alley. 

Terence Blanchard is a consummate trumpeter, who Dad and I always plan to see when his name shows up on any schedule. Unfortunately, Dad's train to D.C. was so delayed that he gave up on it and missed this show. Terence Blanchard shows feel modern, powerful, and all-encompassing. I remember leaving one of his sets feeling unsettled and frantic because that's how the music played. At another, we heard the voice of Dr. Cornell West, who had contributed to Terence Blanchard's latest CD at the time.You're never sure what you'll get with Terence Blanchard, and that's exciting. 

Check out Terence Blanchard website Photos/Videos page for clips. He will return to Blues Alley June 16-21, 2015. Do you have your tickets yet?

December 31: Branford Marsalis (saxophone) Harry Connick, Jr. (vocals/piano), The Kennedy Center. 

Branford Marsalis is my favorite member of the Marsalis Family, mainly because I've known him since 1987 when I discovered Sting, whose band at the time was filled with the best jazz musicians around. When I saw that Branford was going to give a special New Year's Eve concert at the Kennedy Center, I got tickets as soon as they went on sale. I'm not a fan of New Year's Eve because of the cold weather and the excessive drinking, crowds, and noise. Going to the Kennedy Center to see Branford Marsalis is worth these risks. I even found two friends to join me; for once, I have new year's plans! Then, 30 seconds before the show started, the Kennedy Center chairman greeted us and announced that Branford Marsalis was under the weather. Everyone gasped. To make up for it, he asked a childhood friend to fill in for him: Harry Connick, Jr. Everyone screamed! 

I like this guy very much. I even got his autograph once at a record store in New York, starry-eyed about meeting the cute guy who sings all those songs in Sleepless in Seattle. I see his movies and I like his music, but – aside from both being from New Orleans, Branford Marsalis and Harry Connick, Jr., are very different people with very different styles of music. This was not the concert I was expecting. When the curtain came up, our pinch hitter knew it and greeted us with relief, "Oh, I'm so glad you're all here. If bought a ticket to see Branford, and I found out that Branford was sick and not coming, I probably wouldn't show up....That's probably why they didn't tell you!" In the middle of the show, he noticed some new faces in the front row, "You're new," he said. "Hello, I'm not Branford." 

It's okay, Harry Connick, Jr., because you and your band are fantastic! He sang standards and played New Orleans jazz. We had no information about his lively band of excellent musicians in our playbills. (Our original headliner must have cancelled at the last minute.) They were all expressive characters with choreographed moves, supporting a multitalented (still cute) singing musician and movie star. When the show ended, we were exhilarated by the concert's party atmosphere and left with broad smiles on our faces. Okay, Branford, he'll do. 

Check out Harry Connick, Jr., performances on his website's Videos page. Branford Marsalis has a Videos page on his website too, so check him out because he's feeling better these days.

Harry Connick , Jr., just gave a concert at Strathmore on February 20, and Branford Marsalis performed at the Bethesda Blues and Supper Club on March 1. Sadly, I can't always go to everything, but I do have my eye on another Marsalis I've never seen before – Jason, who will be at Blues Alley playing vibes on April 15! Want to go?

Best,


Credits: Kris Funn © Ronald Weinstock; Ron Carter  © Bohemian Caverns; Sharon Clarke  © unknown;  Ginger Baker © Brian Hineline; Ellis and Delfeayo Marsalis  © unknown; Terence Blanchard  © Shannon Brinkman; Harry Connick, Jr.  © unknown