Andrew Teel – [art]seen

REVIEW: A Year With Frog and Toad

March 28, 2025March 28, 2025 Andrew Teel Leave a comment

Ribbits, chirps, and croaks take the stage for the spring at the University of Michigan Flint Theater. This fast paced adventure reminds audiences of all ages to take life a step at a time and slow down to smell the flowers, or in this case Toad’s fresh but slightly burnt cookies. The musical that I saw this past Sunday was one that I have been excited to attend for awhile. The Story of Frog and Toad began as a children’s book by Arnold Lobel. It is a book I remember in my childhood before I even entered middle school. From the vintage looking illustrations to the soft spoken easy digestible text. It had left me truly excited to see my childhood characters envisioned through a live production. This university production was directed by Stephanie Dean

The strongest things about the director’s vision had to be the comedy and the heavily lean in on characters traits. As a reviewer, this is the first musical I have seen in over five years. The work that goes into production often goes over my head. Actors are tasked to not only sing and dance but to act and provide stage presents that represents the source material. The pair of friends represented this to a point. On this specific performance however, one of the lead actors portraying the character Frog was out sick. (Morgan Wright) Either the actor had croaked or developed a frog in their throat is unclear, but the show went on with a new actress to play the green and jolly protagonist. Taylor Boes as Frog, and Noah Anthony as Toad tied together a tag team performance that fit like peanut butter and jelly. The character of Frog, an optimist who always say the bright side of life, always had something to say to Toad’s woes. I especially felt Noah portrayed toad astoundingly well. If I had to give a voice to the character from the book it would be something very similar to what I had seen that week. Toad’s voice always has this slight worry, always thinking of the problems in his life even though they may not be the greatest problem at the moment. An example of this is toad worrying about burning his cookies for his friends due to the fact his clock was broken. The Dynamic between the characters set up great humor and made me realize how anxious I myself get at some very small things.

Some people feel that musicals are often slow and can be tiring at times, but the pace of this was anything but. The whole production captured a year of the friends lives. Seasons only lasted minutes and it was a true treat to see the props, lighting, and overall scenes change. Orange lights filled with autumn leaves, winter blues, and Styrofoam snow littered the set, and cool summer nights and an occasional thunderstorm heavily set the tone of each scene. From raking leaves, making cookies, sledding, and even simply sleeping can shows audiences members that they can find joy in life’s simple moments. The funniest joke had to be from a side character though. After Frog had took notice that Toad never receives mail (Another thing for Toad to lose his cool about), Frog employs a friendly snail to deliver a kind note to his house. In a toad-ally hilarious callback joke, the incredibly slow snail takes nearly the entire musical to reach Toad’s residence. Good clean humor like this accompanies the whole performance. It’s the simple comedy that gets me, it puts a innocent spin that reminds me of my childhood. Being a person who may not be the target audience of this production I found myself laughing out loud much louder than my toddler audience members.

Another thing I must mention is the score and music. Although I would love to see a live pit ensemble one day in my university, the backing tracks of light jazz and Broadway melodies made the original scores magical. My Favorite song from this production had to be “Toad looks silly in a bathing suit” The Frog actress of this production had such a beautiful voice and I can also clearly hear Toad’s character even when he was singing. I do feel at times, the dynamic range of the actors could be greater. You can hear it in the score that the musical called for over the top Broadway level “Bring it home” style of singing. Sometimes I feel the singing was a bit more safe. This may be due to it being not only the final show but also the family show. Some things may have been altered but I feel the actors were so close to greatness but just a bit more “mmph” would have taken the musical over the top and don’t you frog-et it. Even with that note, I felt the dancing and staging were very professionally broadcasted. The old New Orleans style jazz being accompanied by having all the animals do variations of the Charleston dance fit the mood heavily. High kicking and spins revealed how much care the actor’s put into their animal, and It was lovely to be a part of it.

It was a real shame that I was unable to take photographs of the live musical due to copyright reasons. The set designs of Toad’s Mushroom house felt incredibly cozy. Being an audience member felt as if I was transformed to be the size of a mouse. For one season, Frog recounts his memory of being lost and separated from his parents. Frog comes across a large and terrible Cannibal frog. The Production then reveals a large artistic puppet that spanned over 10 feet about the ground, fit with terrifying claws and large menacing red eyes. I myself am I big fan of practical effects, so seeing this I felt the art was being honored from passed productions and it is such a nice sight to see the efforts of practical effects still being put to work to this day.

Overall this was a very pleasant work to both listen to and watch. The set and props were very creative and I can see clearly how much effort both actors and backstage crew worked on making an excellent performance. One last thing I noticed is what seems to be the use of generative AI artwork for the programs cover of the performance. Generative AI being the first thing patrons see before engaging in the disciplines and hard efforts of actual artists on our campus is a huge slap in the face to the art community. I was questioning to include this detail as I can not fully confirm if the cover uses generative AI, but I know past advertising efforts on campus have used AI images to promote art performances, and no artist seems to be credited for the illustration. Not to mention minor details in the illustration that do not make sense, nor is it reflective of the book’s original illustration. It is with deep apologies if I have misreported but I felt it was concerning enough for me to mention it. I hope to see more musicals from my university, I am always excited to see more. I may even audition for one in the future.

REVIEW: Hot Coffee, Cool Jazz

March 1, 2025March 5, 2025 Andrew Teel Leave a comment

Your early afternoon cup of Joe may be best served to a near burning temperature, but jazz on the other hand may best be served cold. A Flint resident looking for live jazz groups may find themselves to be surprised when they happen to come across the highly acclaimed Paul Keller Quartet in humble Holly Michigan. The Paul Keller Quartet has been shattering the Detroit jazz scene since 2011. One may often find the group in a bustling jazz lounge or restaurant throughout Ann Arbor and the greater Detroit area, but for this past Tuesday, Holly residents were welcomed to a more personal and intimate experience right in the towns’ cozy library.

Alongside coffee and decadent bite size pastries sat a quartet with genuine love for the craft.

“Yeah man, give it to me!” exclaimed an engaged Sarah D’Angelo while entranced in her collaborator’s spontaneous creative auditorial flow.

It’s something you like to hear, the engagement, the mid-song applause and praise, being feet from performers, one can close their eyes, and interrupt their surroundings as a communicative gathering for personalized expression. Don’t close your eyes for too long, for when looking at the performance you can see the passion put forth in the faces of the artists’ subtle (and maybe not so subtle) gestures communicate their truths through facial expression. It seemed while one player took a solo, the others happen to be singing or scatting the melodies they had just produced.

Every artist brought a unique color to the performance provided a clean and collective combo array of sound. The blend of clarinet and tenor saxophone especially crafted a dark inflection of the lows that complemented the upper clarion register of the clarinet. As both a clarinet and tenor saxophonist myself I find myself amazed at how these two instrument colors merge, I feel inspired to write harmonically for these two horns in my own original material.

Paul Keller wrote many arrangements of the works played that evening proving his myriad of utility as performer, artist, and creative writer. I found it quite compelling how for one of the tunes the saxophone was written over the clarinet for the melody. The upper range of the saxophone combined with the low register of the clarinet displayed a low smokey undertone not many works utilize. A creative choice of breaking the rules of typical western harmony one may say.

Two original songs draped the small library that evening. Two tales of the passing and coming seasons, winter and spring. The work titled “winter song” featured the jazz singing of Sarah D’angelo along with a the tenor saxophone in the upper register, giving a cold whisper presence. The song personified both the season and the weather, this was followed be delightful solos in a “cool” jazz type of style. “Frosty winds say hello…”

The song focusing on spring was unique as it was written the day before the event, making this work a welcomed premier. Paul Keller spoke on how when he wrote the song, the title was the start of the creative process. Following the title, the chords, melody, and words came to him quickly. “Spring is just around the corner” also used personification when talking about the changing weather. Steve Wood turned to the flute which reminded me of the Grieg song, “Summer Mood.” Flute is synonymous to me with warm weather and early mornings, which may be what the artist was going for. Following the chorus the song sped up which made me reflect on the speed of time and the changing weather. Ralph Tope on the guitar provided a strong harmonic groove with a relaxed but consistent feel. The colors of the strings blended great with the horns, allowing all voices to balance.

Cool Jazz is a subgenre of jazz that was popularized by the jazz trumpetist Miles Davis. This style of jazz focuses on a walking but relaxed tempo and a prioritization of memorable and tasteful melodies when improvising. The quartet made everyone feel welcome and I found myself enjoying every moment. I am excited to see more of what these artists have to offer for future events.

Following the performance I was able to speak with the group. Prioritising small local concerts allows audience members to greet artists directly, something many people wish for when wishing to talk to their artistic influences.

I was able to talk to Steve Wood and get his take on what artists influenced him the most. Steve Wood is influenced by artists such as Yusef Lateef, Dexter Gordon, Ben Webster and Sonny Rollins

These great jazz giants defined and captured styles of the genre. Steve wood noted he transcribed several Dexter Gordon solos, and I can hear it in his sound. The dark subtone inflection is strong in his sound. The jazz language spoken by Steve wood was one that captures elements of all his inspirations. Jazz is a melting pot of what is picked up by the listener. You are what you eat? You are what you listen to!

When a celebrity is asked for a backstage interview what is the most common question the interviewee asks? What can you say to those looking to follow in your footsteps of course! I ask this question not only as a reporter but also as an artist with an increasing drive for jazz. Sarah’s answer was one that was simple but non the more true and possibly the most important. Play. Play often. Get out and find those with similar interests. I found that there is no substitution for experience. I can tell from

this show that Sarah D’Angelo has played countless gigs and presented herself as a courageous and wonderfully charasmatic jazz singer and clarinetist that was a true pleasure to listen to. Sarah recommends newer jazz musicians to head out to Arethas Cafe, a jazz sit-in that focuses on education and learning, hosted by Scott Gwinnell every Sunday. I am hopeful the culture of jazz continues to grow. Going out and playing is a great outlet for individuals to express themselves.

This concert was made possible by the wonderful staff and directors of the Holly Township library. Notable efforts such as Tina Russette, the adult services manager, and Greg Hayes the library director allow concerts and events like this to be a regular occurance. The Holly Township library has several upcoming events that Flint campus locals can look forward towards. A belly full of piping hot coffee and jelly filled pastries held down the audience as they whisked into a warming but still winter night as cool and relaxed melodies packed the listeners ear in delightful hums.

REVIEW: Pan-Tastic: Korean Singer of Tales Meets Jazz

February 20, 2025February 20, 2025 Andrew Teel 4 Comments

The origins of jazz are often noted to have taken place in African tradition and early American life styles, but with the popularity of jazz throughout the world, it is of no surprise that the genre has been interpreted and retold through many cultural lenses as years come. On a winter morning of Wednesday February the 12th, the University of Michigan Flint was welcomed to a unique and fresh twist of Korean traditional music and folk stories with the deep entwined American styles of swing jazz. This concert was organized and directed in part by Kelly Craig, Brian Diblassio, and the other talented musicians you will read further about.

Before viewing of the concert, it is important to understand the art of Pansori in Korean culture. The word Pan in Korean represents an interactive stage experience that breaks barriers between audience and performer, allowing a more intimate and involved experience. Pansori, a similar word, combines Pan with the Korean word for song (sori). The art of Pansori combines singing, storytelling, and musical gestures for audiences.

Pansori storytelling enhance through body gestures and personal expression

In a traditional Pansori performance, only a single drum with a vocalist is used, but for this performance a jazz rhythm section joins the fun with the addition of Lisa Sung (Piano), Tom Knific (Bass), and Kevin “Bujo” Jones (Drum kit). Hee-Won Park connects the ensemble in a very traditional sense. Hee-Won Park dawns a beautiful and traditional garb known as a Hanbok. The floral covered dress is distinctive attribute to the performance of pansori, along with welding her customary buk drum and creative storytelling. With the addition of a rhythm section, the Pansori experience is largely

Hee-Won Park Singing In front of her drum (Buk)

altered in a rather charming and inviting way that has never been previously seen before. Many mark jazz as the root of free expression in music. One must look openly at the colors that unfold, and not that is written on the page. Combining the free improvisatory nature of the artform with stories that have been passed down, allows both artist and audience to manifest themselves to unique interpretations of every single musical motif and idea presented. I found that our mainly american audience, who may not understand the unknown and alien culture of foreign origin and traditions, were able to connect much more smoothly, and were able to have greater takeaways from the pansori performance by having the addition of iconic jazz textures

Although all works displayed at the performance had a story attached to the music, a select few stood out to me in particular. One of these is Heungboo’s Song. Heungboo’s Song comes from a traditional childhood tale about a poor but kind man who comes across a swallow bird. Heungboo sees the swallow in despair over an injured leg. After nursing the bird back to health, Heungboo is given a bountiful gift from the swallow; a large gourd that contains treasures for the poor man. Using a saw to cut open the gourd, Heungboo pulls out endless amounts of rice and money, and with his generosity he goes to provide for his community. In this song, the sound of the saw cutting through the large gourd can be heard through the instruments. Pansori uses special vocal inflections and spoken word. Telling of Heungboo’s tale with the addition of a groove and feel from a jazz scope allows listeners to relate to the tale and experience a truly unique and legendary performance. Combining rhythm and emphasis on certain beats allowed the performance of spoken words to almost sound like a form of rap or R&B. Combining multiple cultures not only creates a new experience but also highlights similarities across other genres that are present throughout the world.

What also caught my interest was the opening of the concert with the instrumental work titled “New Year Song.” This piece is based on a child nursery rhyme in Korea, that celebrates the new year. With it now being the second month of the year the work was very appropriately timed. This work sounded like a classic jazz standard that one may find in Detroit or any local jazz venue. This is not a criticism but rather praise on how well certain musical motives heard in previous context can be adapted for a small jazz combo and improvised over.

Lisa Sung taking a solo over “New Year Song”

One can still hear pentatonic sounding themes throughout the song, and there was still a very asian jazz sound that may be hard to classify. The origins of many jazz charts originate in the world of musicals and even operas, jazz is all about rewriting and remixing old ideas with a new hip context. This piece specifically rotated through several grooves such as swing and bossa nova during the solo section. Even though the work is based on Korean origin, several cultures combine in a melting pot of sound and discovery. The Piano solo starts in the key but Lisa Sung dables with exploring and playing out, providing whole tone colors. The language of blues is also present throughout the performance. This work was very graceful and reminded me of what it would feel like to fly. The bright opening of this work comes to an end with a strong sustained dark note from the bass side of the keys.

To close, the Pan-Tastic performance seeks to connect with audience members and come together to share relatable stories from a childhood setting while also spreading the message of love and togetherness. The Group plans to take this project to multiple locations and is currently getting ready for their performance on the Dearborn and Ann Arbor campus. I am always excited to hear new unique angles of the jazz idiom, and Pan-tastic was a delectable treat for a cold winter morning and a refreshing twist to start this new year.

Left to right: Kelly Craig, Brian Diblassio, Lisa Sung, Kevin Dalton-Jones, Hee-Won Park, Tom Knific

Lastly I would like to credit the wonderful organizations that made this event possible. The Nam Center for Korean studies, has enriched the community in cultural experiences that previously would not have been possible. Evan Vowell, Minyoung Song, and Tina Griffith are credited for being involved in allowing this event to take place. University of Michigan-Flint faculty, Audrey Scribner, Kelly Craig and Laura McLeman were also heavily involved in allowing this to take place. As both a musician and audience member, I am extremely excited to see what future events take place.