Back in November I wrote an interview with musicians that played for Wild Wednesday in hopes of getting to start a sort of regular thing promoting the Wild Wednesday events and give me a chance to do some paid and published writing. They had a very small edition of the paper that month, so my article didn't get published.
So here it is.
Interview with Wild Wednesday Artist, Nathan Angelo
I had the chance to spend a few minutes the most recent artists at SAC’s Wild Wednesday, Nathan Angelo and his drummer Matt Linton. In the midst of students playing air hockey and ping-pong after the show in Loafers, we were able to have conversation about music and Nathan’s experience.
Mb: What has been your funniest/favorite show moment, since you’ve been on the road?
Nathan and Matt: We played a costume show.
Mb: For Halloween? What were you?
Nathan: Yeah. I was old time jailbird, with the black and white stripes. He [Matt] played the drums the whole night with a full mask on, like an old man…like the guy in Kill Bill with the beard. Someone else was a clown. It was fun.
Mb: You’ve been compared, at least here in our publicity, to other performers and musicians like Billy Joel, with your piano skills, and of course, Gavin DeGraw with your voice. How do you feel about those?
Nathan: I think it’s fine when people don’t know who I am. “Oh, if you like this person, then you’ll like this… Saying, “Hey, if you like John Meyer, you’ll like this guy.” I wouldn’t mind because I like John Meyer. Some I like more than others, but I’m not really offended.
Mb: What’s your inspiration? Who do you consider your musical mentor of sorts?
Nathan: Ray Charles. I love his playing and the passion he brings.
Mb: Does the old stuff ever get old?
Nathan: Not really. I feel like every month I listen to another recording and get something new out of it.
Mb: You played several songs about change and “doing good” in the world. Can music save the world?
Nathan: No, I don’t think it can necessarily change the world. There’s a lot in what we say as musicians and in songs. No—I don’t think it can, but I think it can certainly impact it.
Mb: And one last thing, my friend wants me to get you for Christmas. How do you feel about that?
Nathan: What, about being someone’s present? Sure, I’d love to be someone’s Christmas present.
Friday, December 19, 2008
Wednesday, December 10, 2008
Post 10: FAQ
This entry isn't so much about music as it is about The Rest is Noise, Alex Ross, and the class itself. So, consider it a sort of supplement to the course evaluation.
As I finished up The Rest is Noise I ran into Dr. Doug Jensen in Montgomery, oddly enough I've gotten to know him during my time at Converse, even though I haven't had a single science class. He was asking me about the book. I could tell him all the content but not really about Alex Ross and the book itself. On his blog I came upon his bio, the book FAQ, and the book summary and video. I found the video interesting, because it was of Ross just candidly speaking about his experiences. The book FAQ answers things that I remember us briefly touching on and dancing around in the early days of the class. Especially the issue of the book's audience. It appears designed to be as accessible as Ross wants to present 20th century music as, but also as rewarding to the trained ears and minds as the most challenging works of the century. I think he captures the essence, the essential oils if you will, of the 20th Century. We talked about why he didn't include certain composers in class. In the FAQ he explains what we seemed to reach a conclusion about, that being the need for it to be readable and to preserve the principle themes that Ross is conveying. One other interesting fact that is mentioned in both the video and the FAQ is the title.
Ross describes it eloquently saying,
"It's a reference to Hamlet's last words, "The rest is silence." I had in mind the widespread perception that classical composition devolved into noise as the twentieth century went on. What may sound like noise on first hearing may reveal hidden beauty if you give it a second chance."
To me, both phrases evoke thoughts of John Cage, silence and noise. Cage also happens to be who Ross thinks is the most pivotal of all during the 20th century, who epitomized the stretching of boundaries. An interesting connection.
The passion that I have found for the subject of this class, and really for the class as a whole, is probably as much just my love of the cerebral stuff, but also the thoughtfulness of both Ross, and my professor. I don't think I would have had the same experience if either had been absent. It's probably crazy sounding to say that I think I have found my calling in studying the music of the 20th Century, but it certainly would be a course I would like to teach one day. Something for my list of goals, or my bucket list.
As I finished up The Rest is Noise I ran into Dr. Doug Jensen in Montgomery, oddly enough I've gotten to know him during my time at Converse, even though I haven't had a single science class. He was asking me about the book. I could tell him all the content but not really about Alex Ross and the book itself. On his blog I came upon his bio, the book FAQ, and the book summary and video. I found the video interesting, because it was of Ross just candidly speaking about his experiences. The book FAQ answers things that I remember us briefly touching on and dancing around in the early days of the class. Especially the issue of the book's audience. It appears designed to be as accessible as Ross wants to present 20th century music as, but also as rewarding to the trained ears and minds as the most challenging works of the century. I think he captures the essence, the essential oils if you will, of the 20th Century. We talked about why he didn't include certain composers in class. In the FAQ he explains what we seemed to reach a conclusion about, that being the need for it to be readable and to preserve the principle themes that Ross is conveying. One other interesting fact that is mentioned in both the video and the FAQ is the title.
Ross describes it eloquently saying,
"It's a reference to Hamlet's last words, "The rest is silence." I had in mind the widespread perception that classical composition devolved into noise as the twentieth century went on. What may sound like noise on first hearing may reveal hidden beauty if you give it a second chance."
To me, both phrases evoke thoughts of John Cage, silence and noise. Cage also happens to be who Ross thinks is the most pivotal of all during the 20th century, who epitomized the stretching of boundaries. An interesting connection.
The passion that I have found for the subject of this class, and really for the class as a whole, is probably as much just my love of the cerebral stuff, but also the thoughtfulness of both Ross, and my professor. I don't think I would have had the same experience if either had been absent. It's probably crazy sounding to say that I think I have found my calling in studying the music of the 20th Century, but it certainly would be a course I would like to teach one day. Something for my list of goals, or my bucket list.
Tuesday, December 2, 2008
Post 9: Rothko Chapel
It's one of those pieces, like Ross says, is an event every time it is done. Like The Ring Cycle, or a Mahler symphony, it is always a big deal.
Listening to it in class was cool, following the score, figuring out what was going on. But really this is more than just a music event, but a spiritual one as well. Hearing the clip of Feldman speaking about his work is quite moving. He speaks of it with passion not only as a composer, but as a spiritual man.
I clicked on the link in the blog to WNYC's page about the Musica Sacra concert. I listened to the concert which also included Arvo Pärt's Stabat Mater. It's part of a great series called New Sounds Live. Both pieces are certainly more spiritual than sacred. Sacred tends to imply, for me at least, a worship usage. These "mystical" pieces, as they are described, push themselves off the grid of sacred or art music. Not only does Rothko Chapel stretch the gap between art, the sacred, and the mystical, but so does the Chapel for which it was written. I think it captures is entirely. I'd like to visit one day and know for sure.
Feldman was an Amazing individual and there are a fairly large amount of materials available to learn about his life. One interesting tid bit is a conversation between Feldman and Cage.
Listening to it in class was cool, following the score, figuring out what was going on. But really this is more than just a music event, but a spiritual one as well. Hearing the clip of Feldman speaking about his work is quite moving. He speaks of it with passion not only as a composer, but as a spiritual man.
I clicked on the link in the blog to WNYC's page about the Musica Sacra concert. I listened to the concert which also included Arvo Pärt's Stabat Mater. It's part of a great series called New Sounds Live. Both pieces are certainly more spiritual than sacred. Sacred tends to imply, for me at least, a worship usage. These "mystical" pieces, as they are described, push themselves off the grid of sacred or art music. Not only does Rothko Chapel stretch the gap between art, the sacred, and the mystical, but so does the Chapel for which it was written. I think it captures is entirely. I'd like to visit one day and know for sure.
Feldman was an Amazing individual and there are a fairly large amount of materials available to learn about his life. One interesting tid bit is a conversation between Feldman and Cage.
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