Tanglewood concert reviews

2013 A Prairie Home Companion at Tanglewood

A Prairie Home Companion with Garrison Keillor made their 14th consecutive appearance at Tanglewood, on June 29, 2013. The show featured musical guests Joy Kills Sorrow a string band with Canadian roots, singer Heather Masse, a member of the Wailing Jennys, and frequent guests The DiGiallonardo Sisters. Also on hand for the final live broadcast of the season were show regulars the Royal Academy of Radio Actors, Tim Russell, Sue Scott, and Fred Newman, plus the Guy’s All Star Shoe Band along with harmonica virtuoso Howard Levy.

Mr. Keillor and A Prairie Home Companion are both sui generis. He is a literary kind of guy who started writing for the New Yorker five years before his work on a project there inspired him to create, in 1974, a variety show for radio. But whereas his model, the Grand Ole Opry, sat still in Nashville, operating more like a religion with a fixed liturgy, APHC has acquired a trans-continental congregation by presenting a regular banquet of humor, pathos, comedy and an amazing variety of guest artists representing every musical genre.

Bringing the show on the road and performing for large audiences is no gimmick, no money-making ruse. In fact, the show at Tanglewood, at least, is way better in person than it is on the radio, because it is preceded by an audience serenade and concludes with ninety minutes or so of encore performances by Keillor and the program’s musical guests. An indication of what is represented by the shows run just at Tanglewood is this pattern we noticed: the 2000 show had Tim Russell as President Clinton, singing Bob Dylan’s Like a Polling Stone, by way of whining about having no home once he leaves the White House; today’s show had Russell as President Obama, reflecting on his fond memory of the 2004 Democratic convention in Boston and daydreaming about feeling “… good at Tanglewood in Massachusetts.” to the tune of My Way.

Garrison Keillor and Heather Masse on the lawn at Tanglewood

Garrison Keillor and Heather Masse serenade the Tanglewood lawn audience before start of the June 29, 2013 radio broadcast of A Prairie Home Companion from the Koussevitsky Music Shed.

Terrence Blanchard Quintet performance Ozawa Hall, Tanglewood

June 28, 2013 performance, by Dave Read.

The Terrence Blanchard Quintet filled Tanglewood’s Ozawa Hall with two sets of dense jazz before a sparse audience on June 28, 2013. It was a lovely evening in the Berkshires, but rain had been forecast, so maybe that had something to do with the nearly empty lawn and four-fifths empty hall. Has the Berkshire county reached the tipping point, where there’s so much stuff going on, that so many tickets for such an accomplished artist as Blanchard could remain unsold?

By “dense” we mean that the music made by Blanchard and his band occupied all the space available; the spacious Ozawa Hall with its renowned acoutistics sometimes seems to be accompanist, rather than mere facilitator, for a musical performance. Besides his brillance as a trumeter, Mr. Blanchard is a charming m.c., engaged with the audience, and generous to his band, which is terrific. He told a funny story about the Tuscon Jazz Society by way of introducing tenor sax player Brice Winston, a wonderful player who is heavily involved in jazz education.

Terrence Blanchard features new release Magnetic in Tanglewood performance

The rhythm section was good enough to be booking their own gigs! Pianist Fabian Almazan, from Cuba, shone especially brightly on his composition, Pet Steps Sitteres Theme Song. The tune is on Blanchard’s current Blue Note release, Magnetic, which also includes Time to Spare, a groovy up tempo composition by Winston, which got the evening underway in good order. Robert Hurst lll was on bass; his 2nd set solo was mesmerizing. Blanchard told us drummer Justin Brown “has great time” and a great career ahead. Blanchard himself demonstrated total artistic mastery of the trumpet, including loud high passages where it felt like notes bolted off the stage and became hecklers in the empty balcony.

Jerry Garcia Symphonic Celebration Warren Haynes Boston Pops

June 22, 2013 performance; by Dave Read.

A Jerry Garcia Symphonic Celebration with Warren Haynes and the Boston Pops, Keith Lockhart conducting attracted a large audience to Tanglewood on June 22. Scheduled between concerts by Melissa Etheridge and Joan Baez with Indigo Girls, the tribute to the Gratfeful Dead founder and cultural icon was ample reason for a broad swath of baby boomers to spend the whole weekend in the Berkshires. It was an opportunity for the BSO to claim some measure of Haight-Ashbury street cred, with Maestro Lockhart sporting the boldest, brightest, and brand-newest tiedye and there was a groovy light show projected on the Shed facade, which got one-upped by the way more psychedelic burnt orange Strawberry “super moon” rising late in the first set. You can view and listen to plenty of clips from this show on Youtube, where we grabbed a screenshot from one video, here: http://youtu.be/VuaDyBMqo9o.

Photos from Jerry Garcia Symphonic Celebration at Tanglewood

Tanglewood goes mainstream?

Fans who lament the absence of James Taylor from Tanglewood’s 2013 summer schedule may be placated by the BSO’s wading deeper into the mainstream of popular music by booking several acts that are on the summer circuit. Even with the eleven “popular artist” shows booked so far this summer (one for Labor Day weekend TBA), Tanglewood is bound to remain sui generis among music venues, especially since the Boston Symphony Orchestra and Tanglewood Music Center Orchestra occupy all but a few slots on the summer calendar. However, at least for this opening weekend, MASS MoCA was the more relevant musical venue in the Berkshires because of the wildly successful Solid Sound Festival hosted there by preeminent rockers (and Tanglewood veterans) Wilco. With the demise two years ago of the Tanglewood Jazz Festival, which had been held for about ten years on Labor Day weekend, the far end of the summer calendar presents an opportunity for clever programming by the BSO, maybe something sui generis.

Remembering Dave Brubeck

Dave Brubeck in the Berkshires, Pittsfield CityJazz Festival, Oct. 17, 2009; photo: Dave Conlin Read.

We’re re-posting material in the wake of Dave Brubeck’s death Dec. 5, 2012, the day before his 92nd birthday. Dave Brubeck performed in the Berkshires throughout his legendary career, from the 1950s at the fabled Music Inn in Lenox to a 2009 Pittsfield CityJazz Festival performance at the Colonial Theatre.

Mr. Brubeck’s last performance in the Berkshires was a presentation of BerkshiresJazz.org, which afforded us the opportunity, as a member of the organization, to shoot some video during the afternoon rehearsal, where he prepared for his duet with high school student Sam Landes on Duke Ellington’s Take the A Train.

Dave Brubeck rehearshing “Take the A Train”

Dave Brubeck at 2002 Tanglewood Jazz Festival

September 1, 2002 performance review by Dave Conlin Read.

Three tunes into his 2½ hour 2002 Tanglewood Jazz Festival concert, Dave Brubeck said, “I like to introduce new stuff when I play here because the audience is so kind.” Makes you wonder if “here” referred to the seven year old Ozawa Hall where tonight’s gig was, or the Koussevitsky Music Shed, which opened when he was 18 in 1938, or just hereabouts, which would include the site of the fabled Music Barn and the Lenox School of Jazz, where he performed and taught during the 1950s. Regardless, what a treat it was to be in the audience while Dave Brubeck is introducing new material!

That new song was Crescent City Stomp, and it was built around an infectious beat established by drummer Randy Jones, a beat Brubeck said you hear all over New Orleans. Bobby Militello’s saxophone was the featured instrument after the drum intro and Brubeck himself was the most enthused member of the audience for a while, as he would be throughout the evening, whenever his bandmates took their many solos.

Rounding out the quartet, all dressed smartly in dinner jackets and black slacks, was bassist Michael Moore, who plucked and bowed several eloquent passages from his bass, which his languid body fairly enfolded. There were times when you’d think Moore was a ventriloquist for the cleanly enunciated lines he drew from his instrument, but an inartful one because all the while you could see his lips moving! (Read comprehensive bios of the band, from Hedrick Smith’s PBS show “Rediscovering Dave Brubeck.“)

Introducing the evening’s first tune, Brubeck said that for fifty years he started concerts with St. Louis Blues, but tonight would start with the title tune from his current release, “The Crossing.” He told about a trans-Atlantic jazz cruise with about 100 musicians aboard the QE II, which got underway on the Hudson, passed the Verazzano Narrows and into the Atlantic, ” – and we worked up a head of steam, which I hope we do tonight.”

They did.

The tune was some piece of magical mimicry; it was easy to imagine a grand ship honking and chugging away from the pier and soon enough finding its way into rough waters evoked by churning bass notes, then Brubeck took the helm playing long melodious lines, the ship rocking smoothly through eddies and swells.

In telling us that on September 21, he’ll celebrate his 60th wedding anniversary, Brubeck introduced the next tune, All My Love, a translucent ballad that had him hunched over the keyboard, his eyes only inches away from his hands playing so few notes that you could count them.

After The Crossing, came the haunting Elegy, an intimate composition that Ozawa Hall was designed for, where it seems to become part of the ensemble. Continuing in that vein, Brubeck introduced Don’t Forget Me with a few minutes of distant romantic lines that suddenly turned immediate and raucus with another of Militello’s expansive sax solos, and then had Brubeck’s hands flying all over the keyboard before he returned to the lonely little melody that he began with.

This was a very special evening of jazz, a million miles away from being a museum piece, every tune imbued with freshness and vigor. Brubeck’s age was apparent only when he stepped over to the mic, which he did several times to introduce tunes during the first set, which was probably pre-arranged as opposed to the second which I think he made up from the bench as he went along.

It began with Pennies From Heaven, dedicated to the people on the lawn who were being rained upon lightly. Brubeck played out the celestial theme in the next two tunes, Somewhere Over the Rainbow, and Sunny Side of the Street, developing each while the band listened to hear where they were going. Militello’s flute solo on – Rainbow was ineffably sublime. Sunny Side – was rollicking, and at one point Brubeck pointed toward Moore and drew a circle in the air, indicating another round of solos for all.

The audience responded to the celestial set with thunderous applause, which the quartet accepted graciously and which Brubeck seemed overwhelmed by, his grin so broad as he looked into the audience and then around to his band to spread out the acclaim. After his fans got quiet again, he mischievously noodled a few lines from Singing in the Rain then broke into the first notes of Take Five, the Paul Desmond composition from “Time Out,” the world’s first million-selling jazz record.

It was a thrilling rendition, featuring Militello’s slow reinterpretation of the theme before returning it to a rambunctiousness that Brubeck brought to a gleeful level which Randy Jones exploded with a virtuoso display of drumming. Brubeck brought the tune back to earth and then Jones laid down the tastiest little drum coda for the ultimate punctuation to this landmark of jazz.

Sustained applause brought these giants back on stage, Brubeck played a few notes of Brahm’s Lullabye to everybody’s amusement before the quartet re-loaded for Take the A Train, which was a rumbling jam session, the sea cruise of two hours earlier long over. It went on until Brubeck, answering a questioning look from Militello, raised his hands from the keyboard, turned them into pistols and fired a volley into the air.

This performance was a slice of jazz for the ages, delivered by the ageless gentleman genius Dave Brubeck and his virtuoso sidemen, each of whom was brilliant tonight.

Wynton Marsalis Quintet Christian McBride Trio at Tanglewood

August 20, 2012 Article by Dave Read

Wynton Marsalis Quintet and Christian McBride Trio performed one set each in Ozawa Hall at Tanglewood and then assembled for a mashup that looked to be as much fun for the musicians to do as it was exciting for the audience to see and hear. If there were an equal number of musicians and instruments, we would’ve called it a jam session, but with only one bass, one piano, and one drum kit on stage but two musicians for each, their playing was more in concert than what you’d expect to hear during a typical jam session.

Wynton Marsalis and drummer Ali Jackson, Jr, Ozawa Hall Tanglewood , Aug. 20, 2012; photo:Hilary Scott.

Built around Cherokee, it was called by Wynton Marsalis after he recounted an episode from his early days on the road, when the legendary Pearl Bailey surprised him with a gift and told him to do likewise once he’s a headliner. Declaring that the chance to imrovise with other musicians is a jazz musician’s best gift, he invited McBride, pianist Christian Sands, and drummer Ulysses Owens, Jr. to join himself and pianist Dan Nimmer, bassist Carlos Henriquez, saxophonist Walter Blanding and drummer Ali Jackson, Jr. for the rousing finale.

Marsalis said that it requires good manners and being a good listener to be a good musician – so that you know when to play high or low, when to play loud or soft. He didn’t say anything about being a good dancer, but the several transitions between Christian McBride and Carlos Henriquez were so smooth that they coud’ve been choreographed.

essential element of jazz

Wynton Marsalis performs with his quintet, Ozawa Hall Tanglewood , Aug.20, 2012; photo:Hilary Scott.

Tonight’s performance put jazz in perspective in a way that made its European antecedent seem a bit stiff, at the very least. Beyond the equal parts of artistry to be found in the compositional and instrumental components of both European and jazz music, the latter has it all over the former by virtue of its allowance for improvisation, which cedes back to the musician some of the responsibility (credit and/blame) otherwise held by the composer alone.

Wynton Marsalis + Tanglewood

THe 50 year old Marsalis has a long history with Tanglewood; at 17, he was the youngest student admitted to the Tanglewood Music Center, (before enrolling at Julliard), and in 1995 he had the use of the still un-opened Ozawa Hall for the production of Marsalis on Music, an educational series along the lines of Leonard Bernstein’s Young People’s Concerts, which featured Seiji Ozawa, Yo-Yo Ma, and Tanglewood Music Center students.

One of the most exciting concerts we’ve attended was the one in 1999 at the Koussevitsky Music Shed when Wynton Marsalis and the Lincoln Center Jazz Orchestra shared the stage with Seiji Ozawa and the Boston Symphony Orchestra for a program that alternated between Peer Gynt Suite being played by the BSO and the Duke Ellington and Billy Strayhorn arrangement being played by the LCJO.

Former young lion Christian McBride

Christian McBride, 40, who also studied at Julliard, talked about arriving where his mother had long-ago told him he would, when he no longer is a “young lion,” and expressed his delight in employing the young Sands and Owens. Sands’ mentors include Billy Taylor and Oscar Peterson, who were represented in the set by Easy Walker and Hallelujah Shout. McBride dedicated his set-closing number, The Most Beautiful Girl in the World, to Phyllis Diller, telling the audience that she’d died that day “with a smile on her face.”

McBride’s set was so thoroughly satisfying that it seemed as if his trio format must be the essential and sufficient blueprint for jazz. We held onto that assessment with confidence during intermission and until about five bars into Marsalis’ set, when we could only laugh at how wrong we were. Easy to get carried away trying to describe the addition of trumpet and sax to piano, bass, and drums in a jazz band, but here goes: from the ability to laugh/cry to the ability to tell funny/heart-breaking stories.

John Williams’ 80th birthday celebration at Tanglewood

August 18, 2012 performance; Dave Read.

Tanglewood rung up another glittering gala celebration, honoring the 80th birthday of Boston Pops Laureate Conductor John Williams with no less a musical luminary than soprano Jessye Norman serving as M.C. But to refer to John Williams as Boston Pops Laureate Conductor is like referring to Bob Dylan as a former Minnesotan.

Williams’ compositions, especially those written for movies, have global appeal and place him in the pantheon of popular art. As pointed out by Leonard Slatkin, who conducted several segments of tonight’s program, John Williams may have surpassed Beethoven in writing the world’s most familiar musical motif. Slatkin first sounded the four notes that open Beethoven’s Symphony No. 5, then declared that Williams beat him by two with the oh-so-familiar two notes from his Theme for Jaws.

Steven Speilberg, whose local ties include service on the board of the Norman Rockwell Museum, took the stage and noted that their collaborations have spanned half of Williams’ life. Other encomia were presented, fittingly, via the big screen. The festivities began with anchorman Brian Williams, no relation, appearing to do a fake newscast about Williams’ 80th birthday being celebrated at an “unknown location,” before zooming in via Google earth on Tanglewood. Another movie titan, George Lucas, also added his best wishes from a remote location.

Photos of John Williams’ 80th birthday celebration at Tanglewood

The initial musical salvo was delivered, in dramatic fashion, by the US Army Herald Trumpets, flanking the stage with their director conducting from the center aisle, playing Williams’s Olympic Fanfare and Theme, along with the Boston Pops under the baton of Keith Lockhart.

The big screen unfurled again and there was President Obama adding his accolades, on behalf of a grateful nation. Aslo “live via videotape” were Gustavo Dudamel and Deborah Borda from Williams’s “hometown orchestra” the Los Angeles Philharmonic. His orchestral work Soundings was performed at the opening of their new home, Walt Disney Concert Hall in 2003, and also performed at Tanglewood a few years ago.

Video greetings from the Boston Red Sox entertained Williams and the huge audience returning to their seats, blankets, benches, and lawn chairs after intermission followed by Fanfare for Fenway, Williams composition for the ballpark’s 100th anniversary.

Another screen drop and here was Seiji Ozawa, filmed with a Red Sox tapestry in the background, looking and sounding fairly good considering his condition. With a heartfelt tribute to his friend, the Maestro seemed to be asking forgiveness for being absent, leaving his legion of fans hopeful for his eventual return to Tanglewood.

75th Tanglewood anniversary season

Whereas the Boston Pops hasn’t missed a beat since Williams handed the baton to Lockhart in 1995, the Boston Symphony Orchestra hasn’t been so lucky in the wake of Ozawa’s 29 year tenure. For all you can tell from the audience, though, that may be purely an administrative matter, because this 75th Tanglewood anniversary season has been a beauty.

The way this program progressed, patrons were guessing who’d appear the next time the video screen dropped. Some expected the Queen of England herself! Why not – given Williams’ Olympic Fanfare, London 2012, and her own Jubilee…? After all, a member of her court, Sir Paul McCartney, made a video appearance at James Taylor’s 60th birthday party at Tanglewood a couple summer’s ago. Nope, no Queen; but Bill Clinton did chime in, remember him?

Of course James Taylor was on hand, to sing You’ve Got a Friend, in a duet with BSO cellist Owen Young, and to speak of his affection and gratitude for Williams, who invited Taylor to play his first gig with the Pops 20 years ago. Williams also introduced him to “the love of my life, Caroline.”

Besides Ms. Norman’s rendition of This Song is You, a musical highpoint was the performance of Williams’ composition for the Obama inauguration, Air and Simple Gifts, performed by Yo-Yo Ma, cello, Gil Shaham, violin, Gabriela Montero, piano, and Anthony McGill, clarinet. Another was Three Concert Pieces conducted by Shi-Yeon Sung, former BSO assistnt conductor, which was made up of one movement from each of 3 concerti by Williams: for Oboe, with Keisuke Wakao soloing, for Horn, with James Sommerville soloing, and for Tuba, with Mike Roylance soloing.

Fitting tribute to the Wiliams’s genius in scoring movies came by way of Yo-Yo Ma and the Pops on Going to School from Memoirs of a Geisha; Gil Shaham and the Pops performing the Theme for Schindler’s List, and finally, the Main title from Star Wars, all conducted by Leonard Slatkin.

The grand finale of John Williams’ 80th Birthday Ceebration at Tanglewood was his own Happy Birthday Variations, with the Pops very ably augmented by the brass and woodwind players of the Tanglewood Music Center Orchestra. That piece is great fun, seemng to sample the most memorable and exciting motifs from the composer’s oeuvre. Then a loud POP and streamers and confetti rained on the audience, as they stood to applaud Mr. Williams, now onstage with his friends and colleagues, having the time of his life.