the old church

MusicWatch Weekly: What (else) is going on?

ARCO turns up, Geter turns on, “Kevin” takes the night off

Last week we talked all about how everyone should be making albums right now, and hopefully you all nodded your heads and muttered, “hell yeah!” Okay, good, we’re happy to have you on board. You know what you can do to make that happen? You can support the artists who will make it happen–by supporting what they’re doing right now.

And what are they doing right now? Well, the big news on our desk today is ARCO-PDX performing Beethoven in Pioneer Square at 6:30 this Saturday evening (tomorrow!), playing for–ahem—whoever happens to be downtown just then, all while keeping distant in local artist Bill Will’s Polka Dot Courthouse Square installation.

ARCO says:

Thanks to technological advances, passersby will be able to enjoy the music either from their seats on the semicircular steps, or by weaving their way through the players for a one-of-a-kind immersive experience!

This is clearly the exact right ensemble for Polka Dot Square: among other things, the “amplified” part helps a ton when you’re not only outside but six feet away from the other players, and the “repertory” part helps when the point of the concert is not about building the repertoire but putting it to use.

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I feared this installment of our occasional news roundups should really be called Music Rests instead of the usual Music Notes. Like others recently, it’s peppered with postponements and cancellations — but scroll down a bit and you’ll also find some happier tidings, as musicians and music organizations creatively adapt to this year’s somber new reality.

Portland’s Old Church Concert Hall. Photo: Jennie Baker

As you peruse the gloomy news below to the sound of sad trombones, you might wonder: what can I do to help Oregon music survive this crisis? Well, you might tell your lawmakers to support allocation of Coronavirus Relief Funds to help venues survive this extended closure. Portland’s invaluable Old Church Concert Hall, whose existence is threatened along with many others, has a template letter to your State Representatives, who are considering voting on such measures very soon, that explains the importance of independent music venues to the state’s economy. You can find your own rep here. Reps from the Old Church testified before a legislative work group this month, but lawmakers need to hear from all Oregonians who cherish arts in smaller independent venues.

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Oregon arts news: Covid-19 updates

Literary Arts has an emergency fund for writers, BodyVox is drawing blood, Shakespeare festival goes digital, more!

All arts news these days is Covid-19 news, at least in part. But then I suppose that extends to every central sector of the society. Arts organizations in Oregon are trying to raise enough money to keep enough staff on board to keep planning for their eventual return. Oh, and enough money to stage or hang the art they’re involved with when audiences can finally gather safely.

As George Thorn says, “We can’t wait to be in a room together with artists.”

There are two themes for this edition of News and Notes, and all subsequent ones, I expect. The first is the happier one: creative initiatives that artists and arts groups are coming up with to keep their connections with us possible, even though we’re isolated from each other.

Give blood then go to BloodyVox/Photo by Blaine Covert

The second includes funds that have been established to help artists in need and pleas for immediate help from groups in trouble. Two Portland venues, The Old Church and the Alberta Rose Theatre, are in that latter category. You know them, you love them, and if you can, this is a great time to support them.

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Writers need to eat, too, not to mention pay the rent, and they are rarely tethered to corporate support systems. To help them out, Literary Arts has designated money from its Brian Booth Writers’ Fund to create the Booth Emergency Fund for Writers, designed to provide meaningful financial relief to Oregon’s writers, including cartoonists, spoken word poets, and playwrights. Grants of $1,000 each will go to 100 eligible writers, and if more money shows up, a second round of applications will open in June.

The deadline to apply for Round One is May 13. Literary Arts is prioritizing money for writers identifying as Black, Indigenous, and/or People of Color. 

The Oregon Shakespeare Festival has launched O!, a digital content platform the company has had in the works since Nataki Garrett became artistic director. With the theater closed, O! becomes a primary outlet until its stages are filled again, but the company intends to keep working on the site, even when we’re back in the theater again.

Right now, you can hear audio from a 1951 version of Twelfth Night, with founder Angus Bowmer himself as Sir Toby Belch. Or download an audiobook version of 2015’s Pericles, with recordings of King Lear (2013, directed by Bill Rauch), Romeo and Juliet (2012, dir. Laird Williamson), and Julius Caesar (2017, dir. Shana Cooper) soon to come. And there are documentaries and classes to sift through, too. For now, it’s all free. Click here to get started.

Profile Theatre’s eNewsletter this week brought two excellent pieces of news, and believe me, excellent news has been hard to come by lately. They are so excellent that I don’t know which to feature first. 

We’ll start with the money. The company’s Be a Light fundraiser brought in $100,193, exceeding the $75,000 Profile needed to keep operations going, move community engagement programming online, and prepare for a return to the stage when the pandemic has subsided enough for audiences to return. The key word: EXCEEDING. Cash contributions reached $82,861 by the April 24 deadline, and donations of previously purchased tickets totaled $17,332. (If you have tickets for performances of any sort, please consider donating them to the issuing organization, if at all possible.)

Profile artistic director Josh Hecht and Paula Vogel/Courtesy Profile Theatre

And now to the art! Profile’s featured writer this year, Paula Vogel, has been teaching playwriting for 30 years, using her“playwriting bake-off’ idea—a method for creating new work quickly with a recipe of “ingredients,” including characters, settings, props, and source material. Earlier this month she established a “Covid Bake-Off,” using the structure of Arthur Schnitzler’s La Ronde, with its 10 pairs of lovers, and characters from around the globe from Wuhan to Milan and beyond. 

Profile has enlisted playwrights Hilary Betis, Philip Dawkins, Hansol Jung, EM Lewis, Dan Kitrosser, Harrison Rivers, EM Lewis, Christopher Oscar Peña and Anna Ziegler to collaborate with Vogel in this special Bake-Off. Their creation will be recorded as an audio-play and released as a podcast. We’ll keep you apprised here at ArtsWatch.

The Alberta Rose Theatre is seeking support now that Covid-19 has wiped out its concerts and events. Portland doesn’t have nearly enough arts facilities as it is, so if you’re able and inclined, you can help keep this Alberta street institution going.

The theater’s online streaming fundraiser has already begun, but you can still hook-up to hear a long roster of Portland musicians perform. Tonight, for example, singer-songwriter Colin Hogan performs. You can buy a single ticket, a 10-concert flex package, or a full-access package. Well, they aren’t actually “tickets,” but the more you buy, the cheaper they are. The 20-concerts-for-$100 is still the best deal overall, even though a few have already taken place. You can get sorted out at the website.

Speaking of crucial performance venues, one of the city’s very best, The Old Church, is under pressure, too. “We are working around the clock to find funding to stay afloat for what is feeling like it will be an extended closure,” the organization announced. “Without funding we will be out of cash by mid-July.”

The nonprofit has been working on a campaign to ensure that some of the federal money that has gone to states will trickle down to the arts, including venues like The Old Church. They are hoping you will write the Oregon legislators from their district and advocate for arts funding and The Old Church: Rep.AkashaLawrenceSpence@oregonlegislature.gov and  Sen.GinnyBurdick@oregonlegislature.gov

The Old Church has also started a Better Together campaign, which features online benefit performances to support the work they do and the building they have renovated so well. 

If Portland reopens without The Old Church, we’ll always regret it.

One of the many things that BodyVox is known for (along with its great dance films, comic stylings, fine dancing, etc.) is its Halloween send-up BloodyVox. So, it makes sense (at least to me) that the dance company would host a community blood drive with the American Red Cross. The drive runs from 9 am to 2:30 pm on May 7 at the BodyVox Dance Center, 1201 NW 17th Ave., in  Portland.

Speaking of BloodyVox, it kicks off the company’s 2020-21 season. Full details are available on the website.

BodyVox’s penchant for film and video is evident in its fifth annual Contact Dance Film Festival, available to stream starting April 30. The four-day festival features three different programs, showcasing award-winning collaborations between filmmakers, dancers, and choreographers from around the world. Maybe watch some dance and then give some blood?

MusicWatch Monthly: American mestizaje

Caroline Shaw, nyckelharpa and hardanger fiddle, Carnatic voice and violin, harps and drums, and American gothick

As we said a few weeks ago, American musical culture–whether we define “American” as USA, North America, or the entire New World–is above all immigrant musical culture. This seems to hold true for a broad interpretation of “immigrant” which includes, at the very minimum: Puritans and other English-speaking immigrants, with their blend of English, Irish, Scottish, and European traditions; abducted Africans with their own blend of classical and folk traditions; indigenous Peoples across North and South America who found their musical cultures decimated, consumed, and alienated by the arrival of Wendigo; and the successive waves of cultures pouring out of war-torn regions across the world, from Italy and Russia to India and Japan, all bringing their cultures with them and adding to the great and glorious New World Melting Pot.

To be fair, there’s another word that covers all this melting pottedness, and we’d like to follow Gabriela Lena Frank’s lead and adopt a term she borrowed from Peruvian anthropologist José María Arguedas: mestizaje. So let’s go all out and say that American culture is mestizaje culture. Sound good? Great!

The week ahead

Of all the living traditions that thrive in fair Oregon, the one we most enjoy paying attention to is the Contemporary Classical Tradition. We just love the way contemporary composers–like Portland’s David Schiff and this month’s guest star Caroline Shaw–tend the gardens of American Classical Music by embracing both the musicks of their predecessors and the distinctly mestizaje aspect of American culture. (Read more about Shaw and Schiff here and here).

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MusicWatch Weekly: Look before you leap day

A weekend of concerts and a Portland Weird undectet

Fry Day

As usual, we’d like to start by bringing you last minute news of a few shows happening tonight, tonight, tonight. As you read this, Mike Dillon and Band are packing up their road bags, leaving Eugene (where they played at Whirled Pies last night), and trekking up I-5 to Portland, where they’ll head straight down to the Jack London Revue subterraenan social club for an evening of what we can only call “gonzo punk jazz.”

See, from a technique perspective these dudes are all basically just avant-garde jazz musicians (bandleader Dillon is in wide demand as a vibraphonist and all-around killer percussionist), but–like so many others over this last half-century of escalating strangeness–they’ve found the grittiest, truest expression of both “avant-garde” and “jazz” not in the relatively staid traditional world of characters like Henry Threadgill and Branford Marsalis (who are, of course, total badasses and not to be trifled with except for purposes of this strained comparison), but instead have seen the true face of “jazz” and “avant-garde” in the wooly realm of punk, metal, and other folk musicks of the rough and ragged variety. If that’s your bag, dear reader, get on it!

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MusicWatch Weekly: The fanfare zone

Gongs and songs, traditional guitars and uncommon fanfares, and a lecture on women in jazz

Tonight, tonight, tonight!

Your busy music editor has to miss a bunch of cool stuff tonight, dear reader: I’ll be schlepping gongs and playing reyong with Gamelan Wahyu Dari Langit, opening for Wet Fruit at Mississippi Studios. If you followed our adventures in Bali last summer and want to hear what all the fuss was about, here’s your chance.

We’ve been hearing the name Mary-Sue Tobin for years: her saxophone quartet Quadraphonnes is a real riot, and the composer/saxophonist herself gets involved in all sorts of Portland jazz shenanigans. Tonight at Literary Arts in Southwest, Tobin presents her free Women in Jazz lecture.

Across the river at Holocene on Southeast Belmont, local musicians Night Heron, Korgy & Bass, and Colin Jenkins join hands with local puppeteers for Pop + Puppetry. Meanwhile, down in Eugene, the symphony’s got a show tonight that Senior Editor Brett Campbell wants to tell you about:

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MusicWatch Weekly: Farewell to the king

In which we bid adieu to Neil Peart and comfort ourselves with winey classical marimba, saturnalian psalms, and an operatic sistah

Before we get into this week’s concerts, we’d like to spend a moment talking about Neil Peart, may he rest in well-deserved peace. Peart was always the present author’s favorite drummer to talk shit about. That’s true of all drummers, if they’re honest: spend more than an hour in any given drum shop and talk will eventually turn to discussions of most overrated drummer and so on, and Peart always tops everyone’s list. It’s a curious variant on sour grapes–we all begrudgingly admit the man’s skill, but we decry what often seems like metronomic bad taste. If I had chops like that (we all boast, twirling our Vic Firths), I would play more tastefully.

It’s a bad faith criticism, although it holds an element of truth. Peart was famous for his huge drumset and occasionally overblown playing, but the “human drum machine” jab doesn’t quite stick–not least because he used that oversized kit to bring a beautiful melodicism to his drumming, a musicality which is, in our estimation, the real reason so many drummers get touchy about him. There’s some sick drummerly impulse to talk shit on drummers who seem to get above themselves (consider Phil Collins), and lyricist Peart with his giant triplikit certainly fits the bill.

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