Thursday
Jan092014

Connie's Piano Songs

 

On Febrauary 14, 2014 the world will finally get to hear Connie Converse's art songs for voice and piano for the first time, a half-century after their completion.  The songs were left behind in manuscript form at the time of her disappearance in 1974, and never recorded until now.

Connie's Piano Songs features the recording debuts of soprano Charlotte Mundy and pianist Christopher Goddard. The world premiere concert/CD release show will take place on February 17, 2014 at Le Poisson Rouge in NYC. Tickets are on sale now.

Those of you who have followed the progress of "A Star Has Burnt My Eye," my music-theater-documentatry piece about Connie Converse, may be especially interested in learning more about this music.  I wrote a fairly extensive essay about her for the album's liner notes -- you can read it here.

It feels appropriate to release this new CD on Valentine's Day. Producing it was a labor of love for me. I hope you'll join me in celebrating, at long last, the release of this beautiful music.

 

Tuesday
Dec312013

A New Year

I didn't think about it unitl I thought about it, but 2013 was an extraordinary year for me and my music, if only for the number of different projects I had the opportunity to work on and present. 

Some highlights:

* My Biting Fish Brass Band toured Europe for the first time, playing to big crowds in Estonia and Finland. Here's a clip of our headlining gig on the Mainstage at Augustibluus Fest in Happsalu.

Onstage in Estonia * No Further Instructions was programmed at Skidmore College in Saratoga Springs, and at the Jewish Museum in NYC. Both concerts featured my 11-piece "Romanian Orchestra," and Mike Benanav reading from his book and showing his photos from our trip abroad.

 

The Orchestra after the Jewish Museum show

* "A Star Has Burnt My Eye," my music-theater-documentary piece about Connie Converse, continued its development, with workshop performances at the Rattlestick Theater and Joe's Pub in NYC. Director Sarah Hughes (Elevator Repair Service) has joined the team as Director of the project.

 

At Joe's Pub

* My Basement Tapes Project hit the road again this fall, presented by Mercyhurst Institute in Erie, PA.

Mazz, Bean, Me, Scott and Nathan, backstage in Erie

* I produced Connie's Piano Songs, the first-ever recordings of Connie Converse's art songs, featuring the recording debuts of soprano Charlotte Mundy and pianist Christopher Goddard (Release date: 2/14/14).

Connie Converse

* Peculiar Works Project in NYC commissioned me to compose a score for their multimedia theater piece MANNA-HATA, most of it performed in the show entirely acapella by the large cast in the gigantic, mostly-abandoned spaces inside the Penn Station Post Office.

* Howard Fishman Quartet was a recurring feature in Cynthia Von Buhler's Speakeasy Dollhouse in NYC.

HFQ

* And non project-specific, regular old Howard Fishman tour dates in 2013 included stops in Vermont, New Hampshire, Connecticut, Upstate NY, New Orleans, Estonia, Latvia and, of course, NYC and Brooklyn.

 

 

I'm generally not one for gazing into the rearview mirror, but sometimes it can be useful to track progress and, more importantly, to express gratitude -- to the presenters who made these things happen; to my unbelievable circle of collaborators/musicians who help make my ideas manifest so beautifully; to you for showing up and showing interest in the various things I do; and to the universe for continuing to allow me opportunities to pursue and explore my various interests and passions.

Thank you. Looking forward to seeing you in 2014.

Photo by Carole Cohen

Thursday
Dec052013

Mazz Swift

Playing a festival in Bowling Green, Ohio. Photo by Bianca Garza

Violinist and vocalist Mazz Swift is one of the most dynamic, fearless, and fun musicians I've ever performed with.  We first met ten years ago, at the now-defunct MAKOR in NYC. In a story she frequently likes to tell, Mazz was already a fan of my music, having picked up a copy of my first album at the als-defunct bookstore cafe THE READ in Williamsburg. She came to my MAKOR show to hear the quartet, and introduced herself to me after the show, dropping a mention that she played violin. Little did she know that Russell Farhang had left the band fairly recently, and I was scrambling to try to fill his shoes with a series of fiddling fill-ins.  I asked Mazz for her number, and suggested we get together and play sometime.

It was a fortuitous meeting.  I subsequently went to hear her perform with her then-musical partner Brad Hammonds at a little Irish bar in Murray Hill, and was impressed by the energy and focus of her improvisations, and the clean, vibrant tone she coaxed from her instrument.  At a subsequent get-togther at her apartment in Hell's Kitchen, it took me all of five minutes to know that I could make music with this person.  Some people just feel music the same way, ot at least in individual ways that complement and bolster the other, and that was the case with Mazz and me.  I hired her for a gig, and we haven't looked back since. Here she is in a nice live clip of the band from a few years ago playing in Brooklyn:

Mazz is featured on a number of my albums, including LOOK AT ALL THIS! (where her backup vocals raise the roofbeams on "Best Is Yet To Come"), PERFORMS BOB DYLAN & THE BAND'S "BASEMENT TAPES" (which includes her gorgeous lead vocal on "I Shall Be Released"), THE WORLD WILL BE DIFFERENT (that's her furious, impassioned violin solo on "A Ghost"), and NO FURTHER INSTRUCTIONS (where she outdoes herself on second vocals on "Set Me Free" and leads the string quartet for almost all of the album).

Performing at BAM in Brooklyn, photo by Carole Cohen

Like most of the musicians who I'm lucky enough to have perform with me, Mazz is much more than a sideperson. She fronts a project of her own called MazzMuse, and is currently in the process of recording two new albums. You can read more about it here.

It's a thrill to make music with Mazz. I look forward to every gig that we do together, and I'm always inspired by the musical dialogue we engage in onstage. I love Mazz's passion, her humor, and her absolute presence when we're making music. Recently we played some duo shows together in New Orleans, which opened up some entirely new sonic possibilities and landscapes for us.  It's a pleasure and an honor to call Mazz a part of my musical family. Here's one more look at her incredible talent, from her performance at Joe's Pub in NYC performing my song "Good Times" better than I ever could:

 

Monday
May062013

Stephanie Griffin

Sometimes when I'm trying to do too many things at once, I forget what day it is. And sometimes, I can even forget what week it is.

Not long ago I received an email blast about one of Stephanie Griffin's upcoming concerts, a duo recital with pianist Cheryl Seltzer at the Kaufman Music Center (where I performed my original score for Buster Keaton's The Frozen North as part of the New York Guitar Festival). 

Because I'd never heard Stephanie perform in duo format, and because the program looked musically adventurous (including the World Premiere of Ukrainian composer Valentin Bibik's "Sonata No. 3 for Viola and Piano"), I marked it on my calendar just in case I ended up having a window of time that night.

Last Wednesday, I made my way to the recital hall at Kaufman, getting there just a few minutes past the start time of the program because of a stalled subway train. I ran in, breathless, only to find...the music in progress, and exactly one other person in the audience! Well dang!, I thought to myself, it's just getting harder and harder to get people out to attend concerts, isn't it?

I'm glad I was wrong. As it turned out, I'd arrived exactly one week early. This was the duo's rehearsal session with their musical director, and I was not only gifted with an invitation to stay, but alos encouraged to engage in dialogue with the artists between pieces, a wonderfully intimate and unexpectedly provocative way to engage with the stunning music being made that night.

PHOTO BY HIROYUKI ITO

And stunning it was -- all of it -- though I have to say that the Bibik sonata was the most astonishing of all for me. I've recently had the honor of having Stephanie perform with me as part of my No Further Instructions ensemble, and I've heard her play with her terrific Momenta Quartet here in the city, but hearing her and Cheryl tear into the mad passion of Bibik's startling piece was a hair-raising revelation.

The good news is, if you live in or near the city, you have a chance to catch this recital on the RIGHT date, this Wednesday, May 8 at Kaufman. All the info is here.

 Photo by Jim McLaughlin

PS  I'll be performing No Further Instructions again this November, at The Jewish Museum in NYC (the photo above is from the recent show at Skidmore college-- more photos of that one here). With any luck, Stephanie's performance schedule will allow here to join me again.  But if you're around and available this Wednesday, do go and hear her and Cheryl at Kaufman. You'll be happy that you did!

Tuesday
Apr092013

Marika Hughes

MARIKA HUGHES is a phenomenal cellist, singer, composer, and all-around singular human being. Whether I'm out hearing her perform, having the honor of her sharing the stage with me, or just bumping into her somewhere all of a sudden, she never fails to bring a smile to my face. Marika is bursting with good energy and is such positive spirit -- qualities that can't help but shine through in her musical performances.

 

 

I've had the good fortune to have Marika's playing grace three of my recordings: NO FURTHER INSTRUCTIONS (that's her beautiful solo on "Your Voice"), THE WORLD WILL BE DIFFERENT (occupying the cello chair in the string quartet that's featured on most of this album) and BETTER GET RIGHT (where she sings and blows another gorgeous solo on "We Shall Not Be Moved").

Marika is currently in residency on Tuesday nights at BARBES in Brooklyn, playing with her fine, fine band BOTTOM HEAVY (a group that includes another excellent, too-infrequent collabortaor of mine, drummer Tony Mason).  I had the pleasure of hearing them againthere  a couple of weeks ago, and boy was it good. Tasty and grooving and full of joie de vivre. This is as good a time as you can have anywhere in New York on a Tuesday night.

Go see Marika and her band. Go tonight, if you can. You won't be disappointed.