dianne reeves

MusicWatch Weekly: no leftovers

This week's Oregon concerts, with trimmings

MusicWatch has a confession to make: it seriously overindulged at last week’s holiday table. In truth, MusicWatch has been putting on the preview poundage (the freshman 1500?) quite a bit since leaving parental supervision for its own place, so ArtsWatch paterfamilias Barry Johnson staged a needed intervention, placing MusicWatch on a strict 800-word limit (and eventually 500, but we can’t go, uh, cold turkey right off the bat) until it slims down to the concision of  A.L Adams’s svelte DramaWatch or achieves the noble balanced proportions Jamuna Chiarini’s ample DanceWatch. If you want to add your own garnishes, please do so in the comments section, where they won’t count against the word limit or MusicWatch’s waistline.

Legends of the Celtic Harp
Patrick Ball, Lisa Lynne and Aryeh Frankfurter combine Celtic and English seasonal music (using three Celtic Harps, Swedish nyckelharpa, fiddle, bandura, bouzouki) and stories including A Child’s Christmas in Wales, a chapter from The Wind in the Willows, and passages from Shakespeare, Yeats, and Thomas Hardy.
Friday, Cerimon House, Portland.

Portland Gay Men’s Chorus performs its holiday show this weekend.

Portland Gay Men’s Chorus
Christmas, Hanukkah, Kwanzaa, Winter Solstice and other seasonal songs.
Friday-Sunday, Newmark Theater, Portland.

Cinderella
Portland State’s acclaimed opera program presents a piano quartet operetta of the classic fairy tale concocted from vintage German and French songs. Stay turned for Angela Allen’s ArtsWatch review.
Friday-Dec. 17, PSU Studio Theater, Lincoln Hall, Portland State University.

Oregon Symphony and Andre Watts
Scandinavian sounds by Grieg, Nielsen, Sibelius, and fellow Finn Joonas Kokkonen.
Friday, Smith Auditorium, Willamette University, Salem, and Saturday-Monday, Arlene Schnitzer Concert Hall, Portland.

Andre Watts performs with the Oregon Symphony.

Soror Mystica
ParaTheatrical ReSearch PDX’s latest ritual music/ theater/ dance/film/performance art creation (See Mitch Ritter’s ArtsWatch review of the company’s earlier Bardoville.) Friday-Sunday, Performance Works NW, Portland.

ISing
The annual free concert (with donations benefiting a good cause) features familiar carols with 80 voice choir, a brass octet, taiko drums, kotos and massive organ.
Friday and Sunday, Bethel Congregational United Church of Christ 5150 SW Watson, Beaverton, and Saturday,
St. Peter Catholic Church, 8623 SE Woodstock Blvd, Portland.

Beaverton’s iSing chorus used video in its winter 2013 concert.

“Singin’ in the Rain”
Peg Major directs, Robert Ashens conducts and Caitlin Christopher choreographed The Shedd’s original production of Betty Comden and Adolph Green’s 1985 stage adaptation of their classic film comedy about 1920s silent film stars making the turbulent transition to talkies.
Friday-Dec. 17, The Shedd, Eugene.

“Amahl and the Night Visitors”
For decades beginning in 1951, American composer Gian Carlo Menotti’s beloved one-act opera was a perennial holiday treat on NBC television. Thanks to Menotti’s appealing score and story about three kings, a family, and a series of miracles, Amahl is still the most frequently produced opera in the world — a family friendly holiday performance presented by one of Oregon’s finest chamber vocal groups, The Ensemble of Oregon, composed of top singers from the city’s big choirs.
Saturday-Sunday, First Christian Church, 1314 SW Park Avenue, Portland.

Christina & Michelle Naughton
Along with European classics by Debussy and Ravel (his enchanting child-inspired Mother Goose music), Mozart, Chopin, Schubert, and Tchaikovsky, the award-winning sibling duo pianists play 20th century American music, including delights by wild card Conlon Nancarrow, John Adams’s Hallelujah Junction, and Paul Schoenfield’s Five Days from the Life of a Manic Depressive.
Saturday & Sunday, Portland State University, Lincoln Hall.

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Portland Jazz Festival reviews: Ramsey’s wrap up

Renowned jazz journalist's reviews of the 2016 jazz extravaganza

By DOUG RAMSEY

Photos by MARK SHELDON

Editor’s note: ArtsWatch is honored to feature the first appearance on our pages of one of America’s most esteemed jazz journalists, former Portland resident Doug Ramsey, who was back in town for the 2016 Portland Jazz Festival. He conducted one of the festival’s Jazz Conversations with piano legend Kenny Barron and issued reviews on his excellent blog, Rifftides. We rounded them up and, with Ramsey’s permission, are re-publishing them here.

Sullivan Fortner

In his solo piano concert opening the Portland Jazz Festival last night, Sullivan Fortner surveyed a wide territory of styles and wrapped them into his own. At the Bösendorfer grand in the recital hall of Classic Pianos, Fortner’s program ranged from a spiky treatment of Bronislaw Kaper’s “Invitation” through an encore saluting Duke Ellington and Billy Strayhorn.

Sullivan Fortner ©2016-Mark Sheldon.

Sullivan Fortner ©2016-Mark Sheldon.

Fresh from winning the American Pianists Association’s Cole Porter Fellowship in Jazz, Fortner incorporated influences both subtle and obvious. He used the blues to work his way into “Making Whoopee and invested the performance with a rollicking quote from “Surrey With The Fringe on Top” and a sly borrowing from Willie The Lion Smith’s “Echoes of Spring.” Fortner seems anything but calculated in his improvisations. In “Someone to Watch Over Me,” he led himself briefly into what might have been a blind harmonic alley and with a daring octave leap found a way out. He made a transition from Bill Evans’s “Very Early” to his own composition “Ballade,” which included a lovely cycle-of-5ths section.

Although he can be dazzling in his use of technique, nothing Fortner plays seems intended purely for effect. He made clever paraphrases of the melody in “Just One of Those Things,” worked in a few seconds of waltz time, hinted at James P. Johnson’s swing feeling, then went into the full stride piano style of which Johnson was the master. Introducing his melding of Ellington’s “Single Petal of a Rose” and Strayhorn’s “Star Crossed Lovers,” he described their storied partnership as a “love story” inspired by the Divinity, then reflected on his own love of the piano and of music.

Fortner dedicated “My Favorite Things” to John Coltrane. He created an introduction that may have had its inspiration in Coltrane’s free period, slid into a liberal interpretation of the famous melody, made a tag ending that flirted with ¾ time, then used a series of key changes to bring the piece home. The festival—dedicated to Coltrane—was off to a good start.

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