Friday, December 16, 2011

Araki, Claire play IMC concert

Hanz Araki and Casey Neill of KMRIAImage by inger klekacz via FlickrHanz Araki and Katherine Claire will perform at 7 p.m. Dec. 16 at Island Music Center.

Advance tickets, $20, are available at info@islandmusic.org or by calling 780-6911.

For more information, visit www.islandmusic.org.

Brighten the dark days with an eclectic concert with Hanz Araki and Katherine Claire at 7 p.m. tonight at Island Music Center.

While Araki may be best known in the Northwest for his playing and singing of Celtic music, his deep roots are in the shakuhachi, the traditional bamboo “Zen flute” of Japan.

Trained by his father, Kinko Ryu Grand Master Kodo Araki V, Hanz (short for Hanzaburo) can claim the title of the world’s only sixth-generation shakuhachi player.

He took up the shakuhachi at age 17, making his concert debut in Japan only four months later. He went on to teach shakuhachi at Keio University in Tokyo before moving back to Seattle in 1992.

Influenced by his mother’s Gaelic roots, he began teaching himself Irish and Scottish tunes on the flute and penny-whistle. His flute playing and singing of traditional songs caught the attention of those following the Northwest Celtic music scene.

He has performed around the world with the Paperboys, Casey Neill and with an all-star tribute to The Pogues. He has played with the Seattle Symphony, the University of Washington Wind Ensemble and is featured on more than a dozen recordings and soundtracks, from feature films and documentaries to popular video games.

Advance tickets are $20, and are available by contacting info@islandmusic.org or by calling 780-6911.

To hear a sampling of Araki’s music, visit www.hanzaraki.com.

Araki, Claire play IMC concert - Bainbridge Island Review

Friday, December 9, 2011

Kittie's Gone A Milking (Reel) - Irish Flute Tutorial from Tradschool

Group puts unique spin on Celtic music

English: Scottish HighlandsImage via Wikipedia
Immigrant's Daughter is a delightful trio that brings a fresh approach to Celtic music. Rather than traveling the well-worn path of their contemporaries, they have gone boldly in a different direction by infusing traditional Celtic sounds with classic American pop, rock 'n' roll and jazz.

The band is made up of three women of British Isles descent who seem more like sisters than friends. Sharon Fogarty, 36, who was born in Ireland, plays the flute; Ann Borden, 53, makes her harp sing; and Nora Garver, 58, captures the imagination with her violin.

And although their music evokes visions of the Scottish Highlands and dreamy ballads, it also reminds listeners of American tunes. For example, "Wexford Carol," (March) and "Wexford Carol," (Lyrical), are both songs from their latest CD "The Winter Moon," (2011). They are the same song performed different ways, Borden said. Although the former is a lively song with a strong rhythmic beat, the later is a slow, meditative piece. Their music combines their classical training with traditional Celtic, pop, rock 'n' roll and jazz. "Truly, a blend of sounds that represent all Americans," Borden said.

Borden and Fogarty graduated from UNC School of the Arts with degrees in music. Garver graduated from Georgetown University with a degree in French and Arabic. Garver was classically trained by private tutors.

They have been together five years.

Q: Is there a story behind your group's name?

A: Borden: My family background is Scottish, Scotch Irish, English and from all over. Our families are from all different places, but we are all now Americans. And if you look at America, everybody is like that. And even if you look at the American Indians, you can still trace them to the Behring Straights or over in Polynesia. The idea of Immigrant's Daughter gives us the ability to take world music and add what we are into it.

A: Garver: And I think we all relate mostly with our British Isles background. I'm three-quarters British Isles, and there are other mixes in there, but our heritage is primarily from the British Isles.

A: Fogarty: Long story short, Immigrant's Daughter gives us the right not to be authentic. We have so many influences.

A: Garver: We don't have to play Irish music exactly like the Irish play it. Our strength is in developing arrangements that are original.

Q: Describe your performances. What can first-time attendees expect?

A: Sharon: Definitely something different. We do not have cookie-cutter performances.

A: Garver: We make sure we perform at least one new piece. We like to do themes: Christmas, Halloween, Valentine's Day.

A: Fogarty: From a Celtic point of view, it's seasonal. That's why (our CD) is called "The Winter Moon." It's the solstice.

A: Borden: (My goal is) to really be able to connect the people who listen to it with their environment. To have an environment using the music to heal in, to feel good about yourself and to have the listener discover who they are from their attraction to whatever we're doing. When you get people who start to discover who they are, the people around them are influenced to discover who they are.

Q: I know you released "Over the Whistle and Through the Strings" in 2009 and "The Winter Moon" this year. Let's talk about "The Winter Moon." What's the CD about?

A: Garver: It's ancient Celtic carols.

A: Fogarty: This CD was my idea. Being Irish in America and listening to Irish music year round, you realize Americans expect to hear it in March. And we're a Celtic group, but we're not just March. The winter CD came about because we wanted to show people what the Celts were doing this time of year. At Christmas time, you hear the same music all the time. And so this CD was meant to give a winter atmosphere at Christmas time.

Q: What's next?



A: Borden: We have a new album coming out.

A: Fogarty: It's called, "Hands Down." And it's all original tunes.

A: Garver: It's a collaborative effort of the three of us in terms of writing the music and arranging it. It's Celtic, but there are some things on there that are not necessarily Celtic. It's a combination of our influences.

A: Fogarty: Nora and I signed up for Kickstarter to help us out with this. We plan to start recording in January, and hopefully by July we'll have it finished, recorded, released and packaged. (Fans can view a video performance of Immigrant's Daughter and contribute to their Kickstarter campaign by visiting http://tinyurl.com/cs7s26t.)

Artist Profile - Group puts unique spin on Celtic music | JournalNow.com

Friday, December 2, 2011

Art of Elan Performs Wynton Marsalis' "A Fiddler's Tale"

Being tempted by the Devil in some unexpected disguise is the oldest story in the Book—literally. From folklore to grand opera to pulpit oratory, tales of Satanic deception have enjoyed an amazing shelf life. So it is hardly surprising that jazz composer-performer Wynton Marsalis latched on to Old Nick as the heavy in his musical morality play “A Fiddler’s Tale,” which Art of Elan presented Tuesday (Nov. 29) at the San Diego Museum of Art.
Music history buffs will easily pick up the link betweenMarsalis’ “A Fiddler’s Tale” andIgor Stravinsky’s chic 1918 theater piece “The Soldier’s Tale,” a clever musical entertainment for seven musicians and narrator that ushered in the neo-classical fad in Europe’s post-World War I musical landscape. Written for New York’s Chamber Music Society of Lincoln Center in 1998, the new Marsalis piece was intended to give "The Soldier's Tale" a jazzy update, but in truth it is too much homage to Stravinsky and too little Marsalis to make it more than a curiosity.
The only serious departure from the Stravinsky “Tale” is a brand new narrative, written by columnist and critic Stanley Crouch, who transformed the old Russian folk tale and its war-weary soldier (who was only an amateur musician with a fiddle) to a distinctly American topography set in the deep South. The new protagonist is a female musician, a fiddler named Beatrice Connors, who is tempted by a smarmy recording executive, Mr. B.Z.B., who lures her away from playing simple, heartfelt music that “warms the soul” to snappy commercial fare that sells millions of records.
Even those who daydreamed through their Sunday School lessons will not miss the code here: “B.Z.B.” is nothing less than shorthand for Beelzebub, that Prince of Demons (or more literally “Lord of the Flies”) who is the bad guy in many a New Testament story. And huge credit is due Hassan El-Amin, the skilled actor who delivered Crouch’s oratorical narrative with panache and credibility in Tuesday’s performance. Although Mr. B.Z.B. spouts bloated, cliché-ridden wisdom and fawning deceptions, I thought his rhetoric paled in comparison to that of the current crop of political candicates vying for the Republican presidential nomination.
But I digress. Marsalis copied Stravinsky’s instrumentation precisely: violin, clarinet, bassoon, trumpet, trombone, bass and percussion, and, like Stravinsky, he kept the musical momentum going with a perky march whose crackling counterpoint came to the rescue just when the ear required relief from the blustery narration. His set pieces struck me as the most compelling, e.g. the languorous tango, the acidic, tipsy waltz, and the rowdy “Devil’s Dance.” In terms of style, we heard quite a bit of polished ragtime and some gentle swing meditations, but far too little of the edgy, straight-ahead jazz at which Marsalis the performer excels. While it is dangerous to tell a composer what he should have written, this composition left me with a sense of great potential only modestly realized.
Concerning the Art of Elan performance, I have no reservations whatsoever. Artistic Director and violinist Kate Hatmaker turned out snappy riffs and silvery melodies with assurance, a winning incarnation of Crouch’s protagonist (referred to several times as the “beauty with the bow”). Clarinetist Terri Tunnicliff mastered the score’s thorniest licks, and trumpeter Andrew Elstob burnished his solos with grace that too often eludes muscular symphony trumpeters. The ensemble included the deft bassist Jory Herman (no relation!), suave bassoonist Valentin Martchev, thankfully understated percussionist Andy Watkins, and tastefully assertive trombonist Kyle Ross Covington.

San Diego Arts | Art of Elan Performs Wynton Marsalis' "A Fiddler's Tale"

Tuesday, October 18, 2011

TRP (The Reese Project) – Evening in Vermont

"(Tom Reese – flute, pennywhistle, alto flute; Laurie Haines Reese – cello, electric cello; Kirk Reese – piano; Dave Young – drums; Tish Brown – violin, viola (tracks 2, 5, 7))

The Reese Project (also known simply as TRP) is a family quartet which can’t say no to new approaches to jazz. On the foursome’s ninth album, Evening in Vermont—and first for the Rhombus label—flautist Tom Reese (who wrote four of the 11 pieces), wife Laurie Haines Reese (cello and electric cello), brother Kirk Reese (piano) and drummer Dave Young do a mash-up of Stephen Foster and television cartoon dad Homer Simpson; a genre splicing of The Beatles with Miles Davis; and use an exotic electric cello as a string instrument and in place of a bass, not a typical configuration in any idiom.
"

TRP (The Reese Project) – Evening in Vermont – Rhombus - Audiophile Audition

Monday, October 10, 2011

Drums, Irish flute and Spanish guitar

"In the new album “Openminded?” German DJ Roger Shah explores a new side of trance boldly fusing contrasting instruments.

He combines drums with the elements of house fused with magical Spanish guitar and wild Irish flute.

The album turned out diverse: there are star vocalists of electronic dance music such as Sian Kosheen, but also more mellow artists like Moya Brennan, who happens to be Enya’s sister.

Roger Shah, a DJ, promoter and producer in one person, offers an unforgettable show, which is accompanied by an intimate orchestra consisting of synthesizer, piano and other musical instruments.

Sat, Sept. 24, Stereo Plaza, 17 Kikvidze St., 222-80-40, tickets: Hr 125-300."