If you watched the Grammys this year, perhaps you noticed that a band with a peculiar name was awarded “Best Contemporary Instrumental Album”––for the second year in a row.
In 2004, Michael League formed Snarky Puppy with his friends at the University of North Texas, which is known for its outsdanding jazz program. 13 years later, the group boasts three Grammys, a Jazz Group of the Year Award from Down Beat Magazine, and a packed touring schedule. The group is known for their funky grooves, inspired improvisations, and unique instrumentation, as they fuze together pop, rock, R&B, and jazz influences. League himself called his group “a pop band that improvises a lot, without vocals.”
Snarky Puppy will perform in Hill Auditorium this Thursday, March 16 at 7:30pm. Buy your tickets here now!
My high school English teacher once said that if you want to convince someone to care about a certain thing, defensive argument never does the job. The best way to convince another person that something matters, he said, is to sing an ode to the thing.
That’s how I would best describe “On Behalf of Nature” (notice how it isn’t called “In Defense of Nature”): it is a work that praises the fundamental elements of our existence. By expertly weaving together unique vocalization techniques, fluid dance movements, and instrumental music, Meredith Monk and her ensemble successfully reimagined essential human experiences using their bodies as instruments: capturing emotions like the hypnotic power of fascination, the joy of working together, the frustrations of learning to communicate one’s desires, and the serene beauty of being with a loved one.
Ms. Monk composed all of the music for this 75-minute work, in addition to directing, choreographing, and performing in it. Nothing about the piece was obtrusive or aggressive. It was clearly not meant to force an agenda on its audience. It would’ve been difficult for it to do so even if that were the creator’s intention–no words were ever spoken or sung for the entire 75-minute work. Many moments came across as improvised, because they sounded and seemed as natural as they would have been difficult to coordinate perfectly. Like the natural world, many elements of the piece seemed simple on the surface, but were teeming with complexity underneath. Meredith and her ensemble have worked together for years, which was made evident by the coordination of body and mind that they achieved.
The instrumentation was completely unique. One ensemble member played keyboard, violin, and french horn; another played a variety of woodwind instruments; and the percussionist constantly switched between vibraphone, marimba, and an odd collection of cymbals, sticks, pans, and other objects that helped create shimmering textures. The instrumentalists played off to the right side of the stage, and were boxed in on two sides by the marimba and keyboards, but this setup did not prevent them from taking part in the vocalization and dances that took place onstage. They moved fluidly between their roles as musicians and dancers, sometimes bringing their instruments out to center stage with them. The ensemble was also accompanied by electronic textures that blended incredibly well with the live textures created onstage.
The set was minimal––the stage was bare, save two strips of white cloth flooring material that stretched across upstage and downstage, and the instrumental ensemble setup on the right side of the stage. This would come as no surprise to one who was familiar with Monk’s other pieces––she tends to make minimalist design choices in order to draw the audience’s attention to the music and movement. Because Monk’s goal was to create an art piece that wasted little money or materials, she had her costume designer create the cast’s outfits from their own clothing. Shirts became quilt-like coats, dress shirts became skirts, and the mismatching patterns somehow created a muted, earthy tone overall.
There was constant activity onstage, but it never felt overwhelming. There was always something to look at, but the work did not come across as showy or flashy. It was well-paced, balancing tender scenes with joyful ones, and progressing gradually between the two moods. The piece overall seemed to embody a living organism. It breathed. It sang. It wept. It danced.
The thing I enjoyed most about the work was that the composer in me was constantly wondering where each sound was coming from. One moment, the ensemble would be playing and singing something live, and the next you would discover that they had been seamlessly replaced by a pre-recorded track; the vocal textures often sounded like a synthesizer, or had the warm quality of a woodwind instrument, electronic drone textures crept in unnoticed––it was a delightful experience to be continuously proven wrong about what I assumed was going on underneath everything.
The collage-like arrangement of scenes and music in this piece reminded me of a hand-stitched quilt––every element of the work, while it may have seemed disconnected or strange at first, was lovingly hand-selected and crafted into a beautiful covering of love for the world it portrayed.
After the performance, one of my friends shared with me that within hours of being inaugurated, our nation’s 45th president removed “climate change” from the White House website. It was disorienting for me to receive it at first––Monk succeeded in creating a completely new world, as she said she tries to do with every work, and this world was so pleasingly simple, innocent, and natural-feeling that this information served as a rude awakening. As a recipient of the National Medal of Arts from President Obama, Meredith Monk is a living, breathing example of the impact artists can make in the world. “On Behalf of Nature” invites the audience to experience empathy, which is one of the most powerful forces for peace in existence. That’s why art gives me hope.
UMS is fortunate to present Meredith Monk and her ensemble this weekend for the performance of her work, “On Behalf of Nature.”
Experimental vocalist, composer, filmmaker, dancer, choreographer, and inter-disciplinary artist Meredith Monk has succeeded in changing the landscape of what is possible in the art world today. She is most well-known for pioneering unique vocal techniques and creating immersive concert experiences that consist of live music, dance, and vocalizing. She has garnered numerous accolades for her powerful work, including a MacArthur fellowship and a National Medal of Arts from President Obama.
Monk said this about working on “On Behalf of Nature:”
“I asked myself the question: ‘How would one make an ecological art work, one that didn’t make more waste in the world?’ What came to mind was the French anthropologist Claude Levi-Strauss and his notion of bricolage: the process of assembling or making something from what is already at hand. In pre-industrial societies, one object could function in many different ways by an act of imagination.”
You can find more of Ms. Monk’s words about the project in this interview.
To give you a sense of the other-worldly nature of Monk’s creative work, here is a compilation of excerpts from the piece:
The performance will take place on Friday, January 20th, at 8pm in the Power Center. Tickets are available here or at The League Ticket Office. Do not pass up the opportunity to see such an influential artistic pioneer perform live!
There is something undeniably electrifying about being in the same room as someone who is completely herself. It is the common denominator of every world-changer throughout history, such as the Reverend Dr. Martin Luther King, Jr., whom pianist and speaker Jade Simmons honored this weekend with her tribute concert titled “The Art of Impact.”
A classical pianist since the ripe old age of 8 years old, Jade has since additionally become a highly sought-after speaker, activist, author, and performance artist, as she gradually realized that her God-given purpose was not just to play the piano.
Through storytelling and music, Jade Simmons illustrated how she came to understand her purpose of empowering others by coming back to the the things that came most naturally to her. She established her classical chops as she performed Rachmaninov, Beethoven, and Chopin, but also demonstrated her affinity for rhythm and rap through her own unique arrangements for piano and electronics.
In the middle of the show, Mrs. Simmons started talking about the responsibility all artists and educators (both amateur and professional) have to share the spotlight with others. She made some excellent points, but honestly, I don’t remember much of what she said on this matter, because before I knew it she had called the name of my classmate, jazz piano major Brendon Davis, to join her onstage, followed by my name…
Brendon and I had met Jade Simmons after a career talk she gave to SMTD students a few days before this performance, but she managed to remember our names, instruments, and promise to attend her concert. We had no idea she would call us out during the performance, but soon we were improvising at the piano altogether. She played an atmospheric, chromatic figure in the middle register, while Brendon took the bass and I took the treble range. I couldn’t tell you what we played. All I remember is feeling my heart pounding with excitement, feeling slightly concerned that I might fall off the crowded bench, and loving every note that cascaded from the three of us working selflessly together––not trying to impress anyone, only making the music that we loved together. It was powerful. I will remember that moment for a very, very long time.
The sole unifying factor behind the classical repertoire, improvisation, electronic music, and rap that made up this concert adventure was Jade Simmons. She was, at all times, her complete self. Certain types of music might not have appealed to everyone in the room, but no one could deny the excellence and authenticity behind every aspect of her performance. That’s what was so inspiring. People left Stamps Auditorium feeling like they, too, could accomplish their dreams by being their complete selves.
The evening ended with a Q&A session between Jade Simmons and Dean Dworkin, in which she shared her philosophies of the artist’s role in society and opened up about the failures she experienced in her life which propelled her to the place she is today. Now, she says, whenever she experiences failure, she becomes excited about what better opportunity will rise to take its place.
SMTD Composition and Violin Performance double major Stuart Carlson joined Jade Simmons for the final piece, which was his own arrangement of “Amazing Grace” for violin and piano. Stuart’s stunning, gentle tone sparkled alongside Jade’s improvised embellishments to the arrangement, which Stuart had encouraged her to add. The result was the sound of two people collaborating selflessly, sharing themselves with a touched audience. “How sweet the sound,” indeed!
Surprise collaborators! From left to right: Karalyn Schubring, Jade Simmons, and Brendon Davis.Jade Simmons and Stuart Carlson.
The School of Music, Theater, and Dance is extremely fortunate to host powerhouse speaker and pianist Jade Simmons this weekend for a special MLK tribute event. It won’t just be a concert, it will be an EXPERIENCE!
SMTD had this to say about the event:
“SMTD is proud to host Jade Simmons, a classical pianist who has taken her career outside the borders of classical music. Through her exciting musical keynote, she will inspire artists to unleash purpose beyond the stage. Jade will be joined by SMTD violin and composition student, Stuart Carlson. Stuart was one of 5 winners of the 2016 VSA International Young Soloists Competition. He will be performing his arrangement of Amazing Grace, accompanied by Jade Simmons.”
Jade Simmons gave a talk to Music students earlier this week, and I was completely blown away by her passion, presence, and perspective as she explained how every individual possesses the ability to unlock his/her unique purpose. I can’t wait to hear what she has to say through music!
The performance will be Sunday, January 15th, from 4-6:30pm in Stamps Auditorium, which is located in the Walgreen Drama Center.
Tickets are FREE but must be reserved online here. Don’t miss this exciting performance!!
The King’s Singers take their final bow after a marvelous performance.
The sounds of the winter season rang out in the arches of Hill Auditorium last night as The King’s Singers presented a concert full of holiday favorites. The virtuosity and versatility of the group was made apparent by the several stunning arrangements that they shared with a crowded Hill auditorium audience.
The first half of the concert highlighted the group’s abilities as a classical vocal ensemble. They sang familiar traditional carols, including works in Latin and French, demonstrating their mastery over the affective vocal style that is characteristic of singing sacred music and madrigals. The second half lightened the mood as the group sang more contemporary favorites, such as Winter Wonderland and Leroy Anderson’s Sleigh Ride (which they cleverly turned into a samba halfway through). Familiar favorites came to life in a slew of sparkling arrangements that showcased the group’s ability to nail complex harmonies and rhythms.
Between every group of related songs, one of the members would speak briefly about the pieces of music they were about to sing. The program was also interspersed with Christmas-related readings, from Ogden Nash’s humorous The boy who laughed at Santa Claus to a touching diary entry from an unknown soldier dating back to December 24, 1914. This gave the evening a more personal and intimate touch.
The group had an astounding blend. Although there are only two countertenors, one tenor, two baritones, and one bass in the group, they formed such tight harmonies that they created an overall sound that was often as powerful as a church choir. The resonance of their voices ringing out at the end of every piece warmed the soul, in spite of the snowfall happening just outside the building.
The King’s Singers closed the evening with an encore in honor of 30-year UMS President Ken Fischer, who first brought the group to Ann Arbor in the 1980s. This tied up an equally fun and inspiring evening of music with a beautiful bow.
