‘Tis the season for looking back, appreciating and looking forward, right?
We’re wrapping up 2010 here in the basement of Royce Hall and getting ready for a long break, but we’ll be back soon enough with two great shows in January—Wallace Shawn on the 22nd and Karsh Kaleon the 29th.
We’re all pop-culture junkies around here so I asked a few fellow staffers to chime in on some of their favorite performing arts experiences over the last year, both here in Royce Hall and elsewhere.
Personally, my favorite UCLA Live performance was probably Tinariwen in February of 2010. I admit, when it comes to world music, my taste has mostly always hovered more on the commercial edge, but seeing this band, hearing their stinging, hypnotic grooves and watching those uplift and entrance the packed-house audience, was a real game changer for me.
I saw a lot of great shows outside of our programs in 2010, but my hands-down favorite has to be LCD Soundsystem with Hot Chip at the Hollywood Bowl in October. It was a gorgeous cool night and our seats were among the worst seats I’ve ever had at the venue, but also somehow, the best, because I was there with a large crew of my music-loving friends and made some lasting friendships with the group behind us. There was much dancing in the aisles, This Is Happening was one of my favorite albums of last year and it’s a moment in time that’s not likely to be duplicated given James Murphy’s plan to lay LCD to rest. Definitely one for the mental photo album.
Here are a few other staffers pics of the year.
Marivi Valcourt, Marketing Manager
Favorite UCLA Live/Royce Hall Event
Billy Bragg doing “(Shirley) Greetings to a New Brunette” and his commentary around his pre-show ritual “Shit, Shave and Shower.” Classic Billy.
Favorite Other Event:
Natalie Merchant at The Getty – hearing her voice live again was amazing.
John Spokes, Director of Development
Favorite UCLA Live/Royce Hall Event
I loved Baaba Maal, Cedar Lake Contemporary Ballet and Gamelan Cudamani but if I have to name a favorite, it has to be Dengue Fever playing their own soundtrack to the Lost World. Great music, an unusual event and a great archival print courtesy of UCLA Film Archive.
Favorite Other Event:
Watching Fully Committed, a play directed by my wife Casey, with 17 members of my family on a cold Minnesota night.
Ron Jarvis, House Manager
Favorite UCLA Live Event
My favorite moment this year was when I was standing at the back of the house for the Mavis Staples / Billy Bragg concert and I realized that (1.) I should have been in the audience, and (2.) There is still an audience for political troubadours who can stir the social consciousness within.
Favorite Other Event
Watching members of PETA scream at audience members attending “The Greatest Show on Earth” at the Staple Center. I would guess that half of the audience owned pit bulls.
Jessica Wodinsky, Theater Production Supervisor
Favorite UCLA Live/Royce Hall Event:
Cedar Lake Dance Company. The stunning New York-based troupe performed two nights to standing ovations, expertly executing choreography from six of modern dance’s most exciting and eclectic stars.
This year’s Grammy nominees were announced Tuesday night at a live concert in Los Angeles and congratulations are in order for a few UCLA Live artists, including the indefatigable John McLaughlin who took the stage in Royce Hall last night on the heels of his nomination for Best Contemporary Jazz Album for To The One.
Check out this review of his amazing performance here at Royce Hall. We were lucky to have this jazz great on the bill during a season when he’s experiencing yet another high in a career chock-full of them.
We’re pleased to congratulate several other recent UCLA Live performers on Grammy noms this year. Whether you think this particular award is passe or not, it’s still the most prestigious ranking in the music industry and we think the artists who have graced our stage who are on the nom list this year are deserving of any and all possible recognition of their work and contribution to the arts in general.
The ever-eclectic Laurie Anderson was the second performance of our 2010-11 season, delighting our audience with the Los Angeles debut of her challenging and moving piece titled Delusion. That set featured several tracks from her critically acclaimed 2009 album Homeland, one track of which, “Flow” is up for best pop instrumental performance Grammy this year.
The ever-evolving Richard Thompson brought his uniqueCabaret of Souls oratorio to UCLA live Nov. 19 for only the third major public performance since the Brit-rock great composed the eccentric piece last year. Thompson remains a driving force in roots music and is up for this year’s Best Contemporary Folk Grammy for his album Dream Attic.
Mavis Staples lit up the stage in Royce Hall November 5 alongside the rabble-rousing Billy Bragg, singing uplifting songs from her inspiring new album produced by Wilco’s Jeff Tweedy, You Are Not Alone. We are thrilled that this American treasure is up for a Grammy in the Best Americana Album category.
This spring, our final UCLA Live show of the season is a doozy, with the Del McCoury Band and the Preservation Hall Jazz band sharing the stage in Royce Hall. McCoury’s Family Circus is nominated for a Best Bluegrass Album Grammy this year.
We’re incredibly pleased that one of our favorite artists from last year, Los Lobos, and an often overlooked, underrated rock group in modern music history is being recognized in two Grrammy categories–with a nomination for Best Rock Instrumental Performance for “Do the Murray” from Tin Can Trust, which is also up for Best Americana Album.
Personally, of late I have become obsessed with Herbie Hancock’s Imagine project, especially this take on Bob Marley’s “Exodous” featuring Los Lobos, Tinariwen (who also thrilled UCLA Live audiences last spring in a sold-out performance) and K’naan. Talk about a world-music mashup! That song, performed by that caliber of artists from such different walks of musical life. It’s a beautiful thing.
I’m stoked that this project is up for a couple of Grammys–Best Pop Collaboration with Vocals for his take on John Lennon’s “Imagine,” (featuring Pink, India.Arie, Seal, Konono No 1, Jeff Beck & Oumou Sangare) and his solo take on “A Change is Gonna Come.”
It occurred to me, as I wrote this, that UCLA Live is a good home for a guy like Herbie. I was surprised to discover, that according to our ongoing roster, he’s only been here twice. Once in 1970 with his sextet, and again in 2003 with his quartet.
I would personally love it if it didn’t take another 30 years to get this music great on our stage.
In the meantime, we congratulate all the Grammy nominees who have graced our programming recently and we’re proud to be part of their live-performance journey.
Happy Thanksgiving everyone and I’d like to take a moment to give thanks to everyone who has supported our programming so far this year. You’re the cool kids.
We’ve had some amazing performances already and there’s more in store.
Our second post-show party of the year November 12 was among the best we’ve ever had, celebrating the funky Cambodian style of Dengue Fever in their first Royce Hall headlining performance, laying down an eclectic and groovy live score to the classic silent film The Lost World.
In a reviewof Dengue’s 2008 release Ocean’s of Venus the LA Times called the band’s style” sexy and eclectic, it’s world music for the cool kids.”
And clearly, we were surrounded by cool kids just a few short weekends ago, check out these pics of Dengue band members partying with fans after the show. After a much-deserved standing ovation, the band mingled with fans and chilled to fantastic global sounds from KCRW’s world music guru Tom Schnabel on decks in our lobby.
There’s more in store. If you haven’t heard ofKarsh Kale, it’s time you got into him.
He’s a groundbreaker, a risk taker, a fierce luminary of electronic fusion and one of the founders of the pure force of music nature that is Tabla Beat Science.
And he’ll be here January 29 spinning mad tracks to crazy visuals backed by fellow Indian fusionists and cool kids MIDIVal Pundits.
I’m personally excited that my friend and founder of one of my favorite yoga studios in town, electric violinist Dorian Cheah will be part of the onstage mix too.
Check out his sick skills in thisvideo. (He often performs live music for his wife’s yoga class, but not like this!)
Definitely a cool kid.
This is a not-to-be-missed night. So show up.
And for all you jazz-loving cool kids, next weekend we have the Alice Coltrane Tribute. You won’t see a lineup like this anywhere else in town this year. Maybe ever.
Kyp Malone of TV on the Radio, Nels Cline of Wilco and Flying Lotus, Alice Coltrane’s great-nephew and rising multi-genre electronica experimentalist are some of the most exciting artists in modern alternative music. They’re paying homage to this legendary jazz icon exclusively on our stage, with help from other jazz icons McCoy Tyner on Keys, Han Bennink on percussion, Daniel Carter on sax, Michael White on jazz violin and more.
It doesn’t get much cooler than generations and genres colliding in reverence to one of the greatest, most adventurous and most spiritually inclined performers in music history—Alice Coltrane.
So enjoy your holiday weekend, eat your turkey, give thanks for all the great music, artists and fellow cool kids in your life and get yourselves to UCLA Live for some cool music this winter.
Stephen Sondheim joined us for an intimate spoken word event here Monday night. Well, it was “intimate” in the sense that it featured the legendary composer in a free-flowing conversation with KCRW’s literary luminary and admitted musical-theater lover Michael Silverblatt and not-so-intimate in the sense that there were about 1,600 fans watching it happen.
Sondheim was all charm, some self-deprecation and just the right amount of self-aware egoism. His piercing intellect and sieve-like memory played well against Silverblatt’s fanboy demeanor and played right into the audience’s expectations.
Good-naturedly and with the wisdom of hindsight, Sondheim plunged right into discussion of works widely thought of as flops, such as his first introduction to Broadway working on Rodgers and Hammerstein’s Allegro and his collaboration with Arthur Laurents in Anyone Can Whistle, during which Sondheim said he discovered “the difference between being smart and a smart-ass.”
He talked about the joy and freedom that comes from working on off-Broadway productions versus the harsh audience- and producer-expectations from Broadway itself, sharing starkly honest opinions and recollections from his vast career, which are also peppered throughout the recently released book Finishing the Hat, the first of a two-volume anthology of his lyrics.
When asked about his writing process he said he tries to write “away from the piano,” especially as he gets older, because while writing at the piano is fun, “you’re limited by your own technique,” and often apt to fall into old habits, use the same chords out of sheer muscle memory.
Sondheim turned 80 this spring and during his appearance at UCLA Live, recalled how the New York Times helped commemorate his 70th birthday, with this article discussing a selection of songs Sondheim says he wishes he’d written.
Sondheim and Silverblatt had a chuckle of the inclusion of “Silverware,” on that list. It’s an incongruously themed ditty from We Take the Town, a musical version of Viva Villa, based on the life of Pancho Villa. With lyrics from dentist-turned-songwriter Matt Dubey and music from Harold Karr, it is sung by a group of bandits.
“It’s one of the greatest songs ever written,” Sondheim replied to Silverblatt’s dubious question about why that song made the list. “It’s completely unique.”
” But, it’s a Mexican Salsa song sung by bandits on a raid” Silverblatt clarified with a chuckle.
“Yes,” Sondheim agreed gleefully. “It’s a happy song about killing.”
It’s more difficult to write a funny song than a dramatic one, Sondheim said later in the evening.
“It’s easy to write a clever song, but to get a laugh in a song, that’s hard.”
When pressed as to whether he’s been successful at that Sondheim said: “I say with no modesty at all, I can write a funny song.”
And he surely can, just like he can charmingly entrance a packed-house audience while seated on a dark stage with just his ruminating mind and a fellow lover of musicals to bounce thoughts off of.
Billy Bragg walked onstage Friday night in Royce Hall with a couple of guitars and a cup of tea and held us all right in his grasp.
Bragg’s penchant for rabble-rousing rhetoric is well known among his fans, as much as his thoroughly thought-provoking lyrics, hooky riffs, raw, aching and yet-subtly controlled vocals and his clear and absolute sense of his musical self and personal mission. Those of us who’ve known and loved him well for years were not disappointed. He peppered his songs with effortless soapbox interstitials on the political state of his and our country, the dangerous and polarizing effect of our sensational media outlets and their pundits–or “peddlers of hate” as he dubbed them in a new song titled “There Will Be A Reckoning”–alongside tongue-in-cheek criticism of American football and American tea.
Bragg has a political agenda, to be sure. It may not match your own, but even so, you have to respect the way he stays true to his own ideology–talking, writing and singing about it with great logic and more than a little wit, wisdom and warmth, all of which is truly inspiring to witness in person. Really, you would have to be a complete cynic to not have felt just a little inspired by ‘the bard of Barking’ Friday night.
And the man himself used much of his set to warn us all against the dangers of cynicism and exhort us not to give up hope in a time of political turmoil.
It’s human to doubt, and good to have healthy skepticism, but “our greatest enemy is cynicism,” he admonished us. “I battle my own cynicism every day, but I get to come out here in the dark and talk to you and you all cheer for me and it helps.”
Bragg admitted he’s always been a “glass-half-full guy,” and it’s easy to scoff at people like that.
But, he said…if you want to make things better in this world, “half-full is a damn good place to start.”
There’s Power in a Union, he reminded us at the end of his set. This battle-cry song has always struck a nostalgic and emotional chord with me, having grown up a Teamster’s daughter. And, it struck a chord with more than just me Friday night, judging by the immediate and immense standing ovation it was met with.
But I’ve always also felt the dual message in that song and I felt it again Friday night. There’s power in a union, but not just in the organized-labor-protective-group definition of the word. There’s also power in a union of people, in a meeting of the minds, in a union of purpose.
The night yielded one such union, when Billy joined the indefatigable Mavis Staples on stage to perform the gospel staple The Weight. Their union on that stage held a simple purpose, to generate a massive amount of joy and share it with everyone in the room.
Mavis and her band kept that pure joy flowing for the rest of the evening and by the end of her set, every seat in the hall was empty because we were all standing, hands thrust in the air, joining in the repeated phrase “I’ll take you there,” witnessing the great power of great music to join us all in a singular purpose.
Even if that purpose was simply enjoying a musical legend performing and manifesting pure hope and joy, well, that’s a damn good place to start.
Mavis and Billy definitely took us somewhere Friday night. It’s nowhere I’ve ever been before, and perhaps I’ll never get there again. But it was a heck of a visit, that’s for sure.
Were you with me? Share your favorite moment from the night.
Such a simple sentence to write. But really my feeling while writing that sentence is more like the feeling you get when you see a name etched into a tree bark, a random piece of concrete or an ancient stone in a faraway country…an evocative feeling, tickling at your brain, making you stop and take notice of that name, that etching, even if it’s not a name you recognize, not a person you know.
Someone was there. Someone was here. Wherever “here” or “there” or “someone” might be….
Well last night, that someone was Ornette Coleman. And that somewhere was here. And, perhaps unsurprisingly to music lovers who know him well—to put it simply, watching and hearing his performance made me think. About a lot of things. I confess, prior to this UCLA Live season and all the promotion around last night’s event, I was not well-versed in Coleman’s style or repertoire, or really free jazz in general. How sad for all the music-loving years behind me, how fortunate for those ahead of me and how gloriously present that moment in time was last night.
For me, watching Ornette Coleman and his amazing fellow musicians, Tony Falanga on standup bass, his son Denardo on the drums, Al Macdowell on electric bass—was incredibly mentally freeing.
Perhaps that presentness is the intent of the genre itself. I found the unfettered instrumental voices so inspiring and surprisingly non-frenetic even in such a playground of improvisational experimentation, perhaps that’s due to the remarkable presence of the man leading the charge.
It made me think: “Wow this is exactly what’s happening right now.” The highlight for me was a lengthy riff on Bach’s flowing Cello Suite during which it was like each instrument on stage was speaking words from the same poem, but in entirely different languages and in an entirely different stanza order.
And, when Red Hot Chili Peppers’ Flea hopped onstage for the final few songs, he added not only another ridiculous bass line to try and wrap our heads around, but his own infectious energy, green hair bouncing in time to the cacophony.
Flea’s admiration for Ornette Coleman is well and widely known and after the show backstage, he let a little endearing nervousness slip. “Were you guys out there in the audience? Did it sound OK? Man, I wish I’d gotten to practice with those guys first.” (Flea showed up well before the performance, but after sound check, clearly in a rush, but also clearly thrilled to get on stage with a man who’s a personal icon of his.)
Yeah Flea, it sounded OK.
It sounded way more than OK. It sounded like freedom of thought, of hope and of purpose.
I was already convinced after reading thisinterview with Ornette Coleman, that the man’s mind just doesn’t vibrate on the same level as most humans, mine included. But during and after the show, his skill set my mind reeling, thinking about music, about human nature, about art and love and hope and left me grasping for a way to describe that feeling.
“I seek to play pure emotion,” Coleman’s quote in the program notes reads. Mission accomplished.
Another quote popped in my head as I was thinking about the show just now…I think it will serve to encapsulate how this show made me feel. It’s something that resonated with me when I first read it and has stuck in my head since, a comment made by Entertainment Weekly blogger Jeff “Doc” Jensen in his recap of the final episode of “Lost.” (random connection, I know! What happened to my brain?!)
”The best we can do is live our lives with enlightened improvisation — to be so self-aware and fearless that we can live fully in the present and redeem our every moment and every human connection.”
Thanks to Ornette Coleman for reminding me of the beauty, emotion and magic in enlightened improvisation.
And thanks to any and all of you who shared in that with us last night.
Author Dave Eggers joined us here in Royce Hall last night as a sort of culmination/celebration of this year’s Common Book program. More than 6,000 incoming freshman and transfer students were given and asked to read and participate in discussions around Eggers most recent book Zeitoun, which chronicles the story of an American-Muslim family living in New Orleans when Katrina hit and their subsequent and eye-opening struggle within the maelstrom of what became an appallingly broken system of government.
There is power in a story, and there is power in truly listening to another person’s story, Eggers told an audience of UCLA students, staff, faculty and a smattering of UCLA Live patrons last night.
“If you give anyone your time,” he said. “You discover anyone is worth a novel.”
Eggers immersed himself in the story of the Zeitoun family after encountering their plight through his independent publishing company McSweeneys ongoing oral-history project “Voice of Witness” in a collection of stories around the theme “Surviving Injustice.”
If you’ve read the book, you know why the story of Zeitoun relates to the idea of “surviving injustice.” If you haven’t, here’s the plot in a nutshell.
Abdulrahman Zeitoun, a Syrian-born Muslim settled in New Orleans and married a New Orleans-native American woman who had converted to Islam prior to their meeting. Together they built not only a family, but an example of the American dream, with a thriving construction business in the city. He became well-known in New Orleans as a respected contractor and a devoted husband and father. When Katrina hit, his family evacuated and he stayed behind, paddling the flooded streets in an old canoe with a single paddle, trying to help fellow stranded storm survivors, feeding abandoned pets, sharing meager supplies with others, checking on his multiple properties in the town, until one day he and three other men (one a friend and fellow Muslim) were arrested for suspicion of looting and dumped in a makeshift prison at the Greyhound station that had miraculously sprung up just days after the levees broke, while most of the country was watching news reports of bungled FEMA deployment of disaster aid and people with no access to water or escape.
The system was broken.
Zeitoun and his friends were not officially charged, arraigned, given a phone call, access to a lawyer or access to information. Eventually they were transferred to a maximum security prison in the area, Hunt Correctional. Zeitoun spent more than three weeks in prison on no charges, granted no access to the outside world and given no opportunity to inform his frantic family (which included not only his wife and children, but his ten very concerned siblings spread across the world), until a compassionate preacher visiting the jail to deliver books to the inmates took pity on him and passed along a message to Zeitoun’s wife Kathy, who had been grieving her husband as possibly dead.
The book centers on the storm and the appalling aftermath from the perspective of this one family alone, but it also illuminates the larger back story of this family in particular, in their faith, their pasts, their hopes and dreams, their love for each other and their investment in their own community.
Eggers said he was intrigued by the Zeitouns from his first meeting with them several years before the book ever came to close to being published, sitting in their rebuilt home, surrounded by the “beautiful chaos” of the children underfoot, the coming and going of employees and the plethora of rescued animals the family is wont to take in.
He knew this was a story he could dive into for some time, and he knew that that’s what it would take to do it right. He had just spent four years researching and writing his previous mostly nonfiction work What is the What, about refugees from the Sudanese Civil War and subsequently spent nearly that much time immersing himself into the Zeitoun’s story.
“I’m not fast,” he said, slightly sheepishly. “I want to know someone’s whole life.”
Eggers knew the way to tell this story was to tell as much of the story of the Zeitoun’s life as possible, even the parts unrelated to what happened after Katrina.
“A story has to work on so many levels,” he said. “It has to intrigue the reader on many levels; it has to have a depth and a scope that is emotionally rewarding. I didn’t want [this book] to be just about the victimization of this man.”
Eggers spent years interviewing the Zeitouns, their friends and family members, listening to phone calls between Abdulrahman’s wife Kathy and his technophile brother living in Spain who had saved everything, effectively re-living the frustration and fear this family felt over the uncertainty around Zeitoun’s fate as he was cut off from them in prison. Eggers spent hours with the arresting officer who first picked up Zeitoun and his friends, finagled his way into visiting Hunt correctional facility and made periodic trips to the Greyhound station that served as a makeshift prison camp to get a visual image of the places Zeitoun was held. He repeatedly canvassed the New Orleans city streets with Zeitoun, recounting the people and places the man encountered in his canoe in the early days after the storm.
Eggers’ storytelling tactic pointedly and purposely does not ever step away from the spotlight of the Zeitoun family and their experience. It doesn’t leap to other external perspectives from the time.
Shining the light on this family would automatically bring to light the larger themes and issues our country was facing of the time, Eggers said he hoped.
He was right. Several UCLA Live staffers, myself included, served as Common Book “ambassadors.” We read the book and participated in discussion groups with incoming freshman. Harboring my own indignation at this story coupled with my personal remembrance of the news reports around the events of Katrina and my indignant reaction then, it was so interesting to hear these younger perspectives.
For most of them, Katrina and the subsequent governmental failures were rather remote. They were young teenagers at the time; many had no idea the extent of the damage and system failures until they encountered the story of the Zeitouns. Many admitted they had not paid much attention to the news at the time Katrina occurred.
Eggers said the original plan was to change the name of the family and fictionalize some of the locations. He was worried that shining too bright of a light including specifics on business and home locations on a Muslim-American family that was (and still is) embroiled in lawsuits “with everyone from the local police up to George Bush” would bring persecution or retribution.
But Abdulrahman Zeitoun wanted his name on this story. Working on this book had become a catharsis, an “unburdening,” a place to funnel anger and frustration and perhaps heal, Eggers said.
And in fact, when it came to public response to the book, the opposite of original expectations happened.
“All our fears were unfounded,” Eggers said, marveling as he recounted the outpouring of phone calls, letters, emails—even in one case, a personal visit from a Texas pastor—from so many average Americans expressing their disbelief, dismay and, surprisingly enough, even apologies for what happened to the Zeitouns.
It is a sense of responsibility, Eggers said. It was as though everyday people believe so strongly in the ideals of this country that, we feel responsible when the government falls short of those ideals.
And, Eggers hopes there is something to learn from this story and the thousands of others yet to be told from this time and place in our modern history. He specifically cited the example of two high-school teachers from Ohio who were arrested the day before Katrina hit for public drunkenness, caught up in the storm and shuffled through the broken system, where they months in maximum security prison, simply because the normal process of paperwork and organization that would have freed them had become nonexistent. Just a few weeks ago, Eggers said, this couple was awarded hundreds of thousands of dollars in a lawsuit. They are the first two people of many outstanding cases to find retribution from this broken system.
There are still “deep scars” in New Orleans, he says. But the Zeitoun family is still there. They won’t leave. They are committed to rebuilding.
“You can’t budge him,” Eggers says of Abdulrahman. All proceeds from the book Zeitoun go to the Zeitoun Foundation, which spreads funds among nonprofits working to rebuild New Orleans.
Having this book be part of the UCLA Common Book program helps that effort, Eggers said. And he hopes it also just might help us all become better listeners and more aware.
It is our job as humans to listen, to remain constantly vigilant over the maintenance of our ideals to ensure that one day there might just be a shortage of stories such as this to tell, Eggers said.
“We can’t ever assume that [the system] doesn’t require our constant attention,” he said.
Whew…We kicked off our 2010-11 season this week with two packed-house performances from wildly different waves of the music spectrum, vaunting Thursday night from John Cale, perhaps the most experimental rocker in the world (be sad if you missed his twisted take on Elvis’ “Heartbreak Hotel”), to Saturday night’s world music fiesta from the superbly talented musicians of Mariachi Los Camperos de Nati Cano.
Both performances also featured guest appearances from artists who have been influenced by the headliners.
For John Cale that was Ben Gibbard and Mark Lanegan. Indie/alt-rock fans and KCRW-types need no introduction to these two amazing musicians, but just in case, Gibbard is the Death Cab for Cutie singer (whose “Plans” vocals are the soundtrack to one of my past breakups) and Lanegan is the much-coveted singer/songwriter and Screaming Trees founder who’s collaborated with everyone from Queens of the Stone Age, Belle & Sebastian’s Isobell Campbell, UNKLE, and one John Cale.
Getting these two on stage with Cale was surprisingly easy. They are both huge fans of the pop icon who expressed interest in simply attending the show and then immediately jumped at the chance to join the show when Cale extended the offer. And, they were incredibly gracious and allowed us to tout their guest appearances leading up to the night. It all came together less than a week before the actual performance and I think it really made for a special UCLA Live evening.
Going over the set list with Cale’s manager before the show I was intrigued at the possibility of an encore featuring all three of these artists. Frankly I was wondering how that might work out. When it comes to vocal range and style things don’t get much different than Ben’s sweet purity and Mark’s dark, loin-stirring bass (oh yeah I went there, listen to this song and see if you don’t agree).
But Cale’s “Chorale,” which closed out the show, featuring the trio in periodic a capella was simply one of the most beautiful and spontaneous music moments I’ve ever heard. I was backstage when the song started and had to run down into the house to get the full effect.
As for Mariachi Los Camperos, the group’s guest stars were Los Angeles-native songstress Perla Batalla and also Angeles Ochoa, one of the most beloved voices in Mexican music, who joined Los Camperos in their second set decked out in traditional mariachi garb and with her amazing pipes on full display. Backstage, Angeles celebrated her birthday with cake and her friends and family who were in the house.
Speaking of backstage…Nati Cano is just as mischievous, ingratiating and full of mirth there as he is in front of the crowd. And, the exceptionally sharp 77-year-old doesn’t miss a beat when talking about his beloved mariachi music.
Friday morning, Los Camperos put on a special educational show for 1,000 Los Angeles middle and high-school aged students as part of our community program Design for Sharing.
Backstage after that event, I told Mr. Cano how much I enjoyed the music. I think I said the word “amazing.”
He looked me in the eye and said “Why? Why did you enjoy it? Why did you think it was amazing?”
It kind of took me aback and challenged me to verbalize what I meant. I told him how impressed I was at the group’s musicality, the sheer vocal prowess and incredible harmonies of all the singers and their stunning instrumentality.
“Ohh, he said,” with a smile and a little glint in his eye. “You are new to mariachi….we are going to spoil you.”
Another staffer told me she had a similar encounter with the mariachi maestro. He told her that he always asks people “why”—when they offer compliments, inspiring them to really think about their experience with the music.
In honor of Nati and all those experiences he has instigated over the course of a half-century, Perla Batalla, with her effortless charm, warmed up Saturday night’s audience with groovy, jazzy takes on several traditional Mexican and Latin classics. She told stories of growing up in Los Angeles listening to Los Camperos’ mariachi music with her record-store owning parents–what she called “the soundtrack of her childhood.”
“Let’s show Nati how much we love him,” she said, encouraging the audience to sing along to a rousing Batalla-style version of “Guantanamera.”
And we did…oops I mean “they did.” (Aww what the heck, I admit it, I sang along too.)
One cool thing about both of these performances for us was being able to have UCLA student musicians as part of the events.
John Cale’s appearance here was the West Coast debut performance of his seminal album Paris 1919, which he recorded in Los Angeles in 1972 backed by some USC music students. Weirdly, somehow, all those years ago, the record label credited the performers on the album as the UCLA Orchestra.
Obviously, the label execs were clueless as to the extremely important distinction between Trojan and Bruin. 🙂
Well, we were able to officially write UCLA back into the story of one of Cale’s most critically acclaimed solo albums last Thursday, by having members of the UCLA Philharmonia on stage with the legendary artist.
Most, if not all, of the students on stage that night were not even a glint in their parents’ respective eyes when that album was recorded, but they did an incredible job. Watching them from backstage I was very impressed, especially during a truly lovely arrangement of Cale’s “Secret Corrida,” which does not appear on the Paris 1919 album, but that Cale has been including on this tour with this arrangement because of the access to the orchestra.
I was watching the concertmaster and was struck at how truly fine these musicians are. They are already professionals in their own right with many years of concert halls in their future. On a personal note, 20 years ago, I was going to college on an orchestral-music scholarship. I know how much it would have meant to me to be part of an evening like that. I think (I hope) it’s something they will remember for their entire careers. I think we should all take advantage of their performance schedule this year.
And on Saturday night, we had the opportunity to involve more student musicians.
Did you know UCLA has its very own mariachi group?
Well, we do! They’re called Mariachi de UCLAtlan and they’re GOOD. (But, perhaps that’s to be expected, after all their teacher/director is Jesus “Chuy” Guzman, who is also the musical director/violin player/vocalist in Mariachi Los Camperos.)
We were thrilled they were willing and able to join the party Saturday night, but I think they might have even been more thrilled to be included.
And it became clear very early that the audience definitely was thrilled to have them there.
At first the, UCLA Mariachi group delighted the crowd playing in front of Royce, and while it was quite a beautiful sight to see them spread out making music in the quad, with the glow of Powell Library’s clock tower beaming down like a halo, we very quickly discovered the crowd was so delighted to listen to them that people weren’t moving inside for the actual show.
We moved the UCLAtlan onto the patio outside the West Lobby to lure patrons into the house. I couldn’t help but smile as the crowd sang along. And, even though they were about to go inside and hear MORE mariachi music from some of the world’s best purveyors of the art form, perhaps hear even some of the same traditional songs, still, after every song the student group played, the crowd cried “Otra! Otra!” We had to pull the performers away to get the crowd inside the hall.
Once inside, though, Los Camperos did not disappoint. I think we were all a little spoiled that night!
It was a great way to start the season. It’s true, as an organization, UCLA Live is in the throes of transition. It’s definitely a transitional year for us as we move forward with this season as simultaneously the University searches for a new director to lead UCLA Live.
Transition brings change and challenge, but it also brings hopefulness and opportunity. Change isn’t bad. It is the thing that inspires growth and thought and we are looking forward. We’re proud of the role we play in the cultural life of UCLA and the greater Los Angeles community and are committed to the role we know we will continue to play.
We think, and we know UCLA leadership shares this belief, that performing art is important to the flavor, language and experience of life in any city, but especially here in this enviable environment (meaning both the UCLA campus and Los Angeles at large), where we are so demographically diverse, so inspirationally creative and so open to new experiences.
And honestly, if these first two performances are any indication of the vibe that our performers, donors, subscribers, patrons, UCLA students, faculty, staff are going to bring to Royce Hall this year, then we are all in for a treat.
I know it’s my job to be perky and excited about our performers and our program, but believe me, it’s also my sincere pleasure.
So, I say thank you to everyone involved in these first two performances and thank you to everyone who turned out and danced, sang along and marveled at the incredible and varied musicianship in Royce Hall this weekend.
That’s a weird question to ask right? I mean, how do you know what you’re not listening to? But as a music lover, do you ever wonder about all the great music you have yet to encounter? I know I do.
As we get ready for a season of great music here at UCLA Live, I’ve been digging around getting more informed on our lineup–which I admit, includes a wealth of artists I’ve not encountered before–educating myself on all that music I haven’t been listening to.
I found this article from last spring from NPR’s “All Songs Considered” program.
The article specifically mentions a couple of artists UCLA Live has been proud to present, including the up-and-coming guitarist from Mali, Vieux Farka Touré, who is appearing herewith blues legend Taj Mahal Oct. 22
This NPR piece also highlights Allen Toussaint, who was on the bill at UCLA Live last spring. What an amazing show that was. If you’re a music lover with varied tastes, you’ve probably encountered Toussaint’s influence at some point– he’s written songs for or collaborated with just about everyone, including The Meters, Elvis Costello, The Rolling Stones, The Who, The Band, Paul McCartney, Aaron Neville, Dr. John, Jerry Garcia, Phish and so many others.
But if you caught him here at UCLA Livelast season you were lucky. And, if you ever get the chance to see him perform live again, grab it.
Toussaint is incredibly slick, smooth as silk in person, and an gracefully warm and gifted presence on the stage, effortlessly sliding from storytelling to consummate vocals, his hands never missing a chance to caress music out of the keyboard in front of him.
I had been loosely touched by Toussaint long before I ever really knew the man’s name, thanks to an old boyfriend who introduced me to The Meters, which has become a perennial favorite.
So now, I’m asking all our music lovers out there, how do YOU discover new music? And what do you love that you think everyone should be listening to?
What are the most trusted go-to sources that consistently inspire new music discovery for you? (Hopefully UCLA Live and other quality performing arts organizations are a part of that for you.)
For me, I have a handful of friends/music lovers in my life whose taste I trust so implicitly that I will listen to anything they tell me I should, no questions asked. That’s not to say I like everything they like, but I never feel like I’ve wasted my time by checking out one of their recommendations.
Often I will listen to KCRW, especially “Morning Becomes Eclectic” with the day’s tracklist open on my computer. That way when I hear a song that makes me go “Oh wow, who was THAT?” I can make a note of it.
I’ve made a lot of pleasant new discoveries that way.
I’ve discovered my mind and soul are like super-absorbent sponges when it comes to music. I am built to consume as much as possible.
Tell us what we should be listening to! And, we’ll do our best to return the favor on stage in Royce Hall this year, I promise.
OK people. It’s official. Individual tickets to all our events are now on sale. Woohoo. We can’t wait for everything to get going around Royce Hall. Check out the calendar if you haven’t in a while and see if anything strikes your fancy.
And…speaking of fancy, we’ve added a fancy new spoken word event to the lineup this year—an evening with not one but TWO–count ‘em, TWO–former U.S. Poets Laureate. (Oh that’s one of those fun word pairings like culs de sac). Two of America’s most lauded poets, Billy Collins and Kay Ryan join our spoken word slate April 23, just in time to celebrate National Poetry Month. (We’ll be calling on you the audience to share some of your own poetry with us around this event as well. More on that in the near future).
I love the way poets wield language, especially poets like Billy Collins who often do it with a slightly tongue-in-cheek style. I love the way they can inspire us to look at so many different things in a poetic light.
Here’s a fun one from Collins…
Another Reason Why I Don’t Keep A Gun In The House
The neighbors’ dog will not stop barking.
He is barking the same high, rhythmic bark
that he barks every time they leave the house.
They must switch him on on their way out.
The neighbors’ dog will not stop barking.
I close all the windows in the house
and put on a Beethoven symphony full blast
but I can still hear him muffled under the music,
barking, barking, barking,
and now I can see him sitting in the orchestra,
his head raised confidently as if Beethoven
had included a part for barking dog.
When the record finally ends he is still barking,
sitting there in the oboe section barking,
his eyes fixed on the conductor who is
entreating him with his baton
while the other musicians
listen in respectful
silence to the famous barking dog solo,
that endless coda that first established
Beethoven as an innovative genius
I love the musicality of his writing, and how a sense of music often comes into play or directly into the style of the poem. I feel like the world is like that, or at least it SHOULD be like that. Perhaps we should all be listening for those songs, those melodies in all of our moments whether those are moments of quiet and contentment or moments of frustration and hopelessness.
I Ask You
What scene would I want to be enveloped in
more than this one,
an ordinary night at the kitchen table,
floral wallpaper pressing in,
white cabinets full of glass,
the telephone silent,
a pen tilted back in my hand?
It gives me time to think
about all that is going on outside–
leaves gathering in corners,
lichen greening the high grey rocks,
while over the dunes the world sails on,
huge, ocean-going, history bubbling in its wake.
But beyond this table
there is nothing that I need,
not even a job that would allow me to row to work,
or a coffee-colored Aston Martin DB4
with cracked green leather seats.
No, it’s all here,
the clear ovals of a glass of water,
a small crate of oranges, a book on Stalin,
not to mention the odd snarling fish
in a frame on the wall,
and the way these three candles–
each a different height–
are singing in perfect harmony.
So forgive me
if I lower my head now and listen
to the short bass candle as he takes a solo
while my heart
thrums under my shirt–
frog at the edge of a pond–
and my thoughts fly off to a province
made of one enormous sky
and about a million empty branches.
But of course, we can’t all express those thoughts and sounds quite as well as Collins and his cohort Kay Ryan. That’s why we spend evenings listening to people like them, to help us identify the sounds and rhythms inherent in the written word….to open our eyes and hearts and ears to something our own brains might never be able to spontaneously produce in that way. As arts lovers perhaps just experiencing it can be almost as profound as creating it.