Molly Barth, a founding member of Eighth Blackbird and its flutist until 2006, returns to the flock this month. She will perform in a number of concerts with the ‘Birds from now until April. When we caught up with Molly, she was at home in Nashville, Tennessee, where she teaches at Vanderbilt University’s Blair School of Music.
8BB: For those who don’t know, what have you been up to since you left Eighth Blackbird?
MB: My husband and I moved from Chicago to Oregon so that he could pursue career opportunities in viticulture. Everyone thought we were crazy for leaving our wonderful jobs in Chicago, with little to no immediate job security in Oregon! In addition to performing with the Oregon Symphony, I taught at Willamette University for two years and the University of Oregon for a decade before moving to Nashville in 2018 to assume my current position at the Blair School of Music at Vanderbilt University.
8BB: How do you find Nashville?
MB: It’s a great city that presents new opportunities for my husband’s career as well as for my career. The Blair School of Music is small, and I am really happy with the opportunities it affords me to concentrate on teaching at the undergraduate level; the student body is inquisitive and intellectual and fabulous!
8BB: Is any of 8BB’s current repertoire familiar to you?
MB: No, this repertoire is all new to me. I am loving the process of learning the works of these young and emerging composers.
8BB: And what about returning to the ensemble; how does it feel?
MB: I am thrilled to have this opportunity to return to these spring performances with Eighth Blackbird. The rehearsal process remains largely the same. I appreciate this concentrated way of approaching the music together; the collective level of preparation and rigor during the rehearsals is invigorating.
8BB: What other projects are you working on these days?
MB: In 2018, I released my first solo album on the Albany label. It’s called Vento Appassionato, and happily, it received excellent reviews. I also continue to play with Duo Damiana, the flute-guitar duo I founded with Dieter Hennings, and the Zohn Collective, a contemporary music collective of nine core members founded in 2017. The Zohn Collective was organized in part by Tim Weiss, the same person who assembled the members of Eighth Blackbird together in 1996!
8BB: Welcome back Molly! Looking forward to performing with you this winter and spring!
It’s time to fly for Deirdre Harrison, Eighth Blackbird’s chief operating officer. Deirdre will serve as development director of Snow City Arts, a nationally-recognized nonprofit that provides superb, school credit-earning art education to hospitalized youth in four Chicagoland hospitals.
Deirdre came to Eighth Blackbird through Creative Partners, a MacArthur Foundation-funded shared staffing project. We invited her to stay on as development director and quickly promoted her to chief operating officer. Deirdre is most proud of supporting the development of a Blackbird Creative Lab alumni culture and reconnecting Eighth Blackbird to its Chicago homebase. She is also gratified to have shepherded a significant uptick in Eighth Blackbird’s local programming, including free and accessible gigs through the Chicago Park District’s Night Out in the Parks initiative, Make Music Chicago, Rush Hour Concerts, Museum of Contemporary Photography, Art Institute of Chicago, City Winery, Ace Hotel, and Steppenwolf, as well as the sextet’s debuts on Live from Here with Chris Thile from Symphony Center last year and at Navy Pier’s inaugural Winter Music Series coming up on February 20. This is the first of several events she helped steward for the Year of Chicago Music, including Eighth Blackbird’s upcoming release of Gordon/Lang/Wolfe’s 2008 singing in the dead of night on Cedille Records and the world premiere of a new work by Viet Cuong for Eighth Blackbird and the US Navy Band at the Midwest Conference.
According to Deirdre, “It has been an adventure to serve such extraordinary artists, staff and interns, funders, managers, and board during such a transformative time. I doubt I’ll ever have such a gorgeous office soundscape again! I hope to see you all at Navy Pier next week or wherever one or more of the ’Birds might be making music in the future!”
Eighth Blackbird visited Sweden recently, a destination new to us, people who are excited about traveling to new places. We arrived as guests but unexpectedly found new selves there. As we navigated planes, trains, and vans that were entirely too small for the six of us, the trip coalesced into equal parts conclusion and beginning.
I knew Stockholm was near the water, but I had no idea that it comes from the water. I was reminded of Joseph Brodsky’s “Watermark”, a chapter in which he goes on about why Venice is so wonderful in the winter. I haven’t been to Venice in the winter, but now that I’ve been to Stockholm in the winter, I think I have a better understanding. More an emotion than an explanation. I felt it while walking the waterfront and standing on bridges watching cold turbulence straddle the foundations of the islanded Parliament House. It gave context for the week to come.
Our itinerary took us to five cities Tuesday through Saturday. Beginning with Stockholm, we then visited Östersund, Västerås, Katrineholm, and Skinnskatteberg. Forgive any erroneous diacritical marks; I promise I’m trying. In each city, we were met by a local producer who was just the first in a delightfully repetitive sequence of hosts and folks at each venue who warmly welcomed us. Sounds of Stockholm knew they were sending us into communities with audiences varied in size and experience. There was a wide range of reactions and conversation. But above all we felt welcomed. By god this country is beautiful! The water permeates everything. it’s in the soil and the air and you can feel it in your lungs.
These were good concerts. Really good. And yes we performed well, but there was something more. There’s been a lot going on this fall, but this trip somehow allowed us to leave many concerns aside for these few days and really enjoy the visceral interaction of making music in real time. We got psych’d when something amazing happened and we laughed when mistakes happened. There was flow.
As has been well publicized by now, Eighth Blackbird is in the midst of a dramatic transition. The details of all that can be read elsewhere, but what I’m thinking about here is the personal relationships. This isn’t the material combed over by marketing consultants. It is the thing felt between people who have so richly informed each others’ lives. As the group changes, the individuals are also changing. Our connections are shifting. In this land of waterways and islands, we found what was solidly established to be fluid and amorphous.
Nathalie will be leaving us in a few weeks. Nick has announced his plans to depart at the end of the season. Yvonne and Michael departed over the summer. While we’re so grateful to have Matt and Zach with us this season, Nick, Nathalie, Lisa, and I are the last of the ensemble which represented Eighth Blackbird when Eighth Blackbird was represented only by the sextet. That iteration of the ensemble is performing its last concerts, and a repositioned ensemble is forming. Some will move on. Some will stay to create something that is both old and new. Endings and beginnings. And it is so wonderful to be able to say that we feel joyous during this process. The music is more powerful than ever.
And so it happened that during my visit to the ABBA museum I found this text posted near the exit:
“After 10 fantastic years together they mutually came to the decision to take a break. Why? Those who work creatively in music, art, film, literature or theatre understand that it takes curiosity and an urge to express oneself to develop as an artist. When the sense of fun isn’t there anymore and when ideas don’t come as easily as before, then it’s time to try new things to regain the excitement in creating.”
Now, one thing that does not apply to my experience is the notion that there’s been a loss in the sense of fun. Quite the opposite. When decisions were made, and a course forward determined, it was as though a weight lifted on the ensemble. Rather than the constant wondering, “What should we do? What should ‘I’ do?,” we felt a clarified sense of direction heading into the fall that has been rejuvenating. Freeing. One of the best things I can say about this trip was that we had FUN together, and it felt wonderful. Meeting new hosts in each city, exploring food, staying up late in hotel salons marveling at what seems to be a Swedish compulsion with wallpaper. The companionship felt secure and comforting. We’d been liberated to simply enjoy ourselves.
But this other part about ideas no longer coming as easily, and a time for trying new things to regain the excitement of creating, rings true. We are all creatives who crave the deep satisfaction of discovery. Those who have come to be members of Eighth Blackbird all share this need, and serving it is the best thing we can do for ourselves. It is the thing that best equips us to contribute to those around us. We are all excited about traveling to new places.
Speaking of ringing, I’ll leave you with an actual Brodsky quote because I happened to make a recording of the bells of the Stockholm Cathedral and, well, this sets it up nicely.
“The whole city, especially at night, resembles a gigantic orchestra, with a restless chorus of waves, with the falsetto of a star in the winter sky.”
― Joseph Brodsky, “Watermark”
Sweden was the gentle star in our winter sky, just when we needed a coordinate point to orient ourselves toward the future.
With a mixture of sadness and gratitude Eighth Blackbird announces that Nick Photinos, an extraordinary cellist and a founding member of Eighth Blackbird, will leave the ensemble at the end of the 2019-20 season to pursue solo and collaborative performance projects and to invest himself more deeply in individual and chamber music teaching and mentorship. Nick and his family will remain based in Chicago, but he will continue to teach at the Bang on a Can Summer Festival in 2020, as well as joining the inaugural faculty of an exciting new venture at the led by Seth Parker-Woods at the Center for Advanced Music Studies in New Hampshire. The Chosen Vale International Cello Seminar is designed to offer “a high-calibre educational and mentorship structure for exceptionally gifted artists” from over 14 countries and serve “as a beacon for inclusive and advanced learning, mentorship, and community building.”
“I am incredibly proud of the many things we’ve accomplished over the past 23 years, but most value the connections we’ve forged with audiences and individuals, especially through teaching, coaching, and mentorship,” Nick wrote. “In the work that we’ve done, we’ve had incredible opportunities to change people’s lives, careers, and the way people think about, create, and relate to the music of our time.” In particular, the Blackbird Creative Lab, “was the distillation of so much of what makes Eighth Blackbird so special, and a way to pass that along to a younger generation. I’m so proud of the collaborations we made possible with and amongst those fellows. The Lab alumni community is providing a fertile ground for a lot of new and interesting things yet to happen.”
Commenting on Nick’s departure, percussionist Matthew Duvall said, “Over 23 years, Nick has been the kind of friend and colleague that you never stop learning from. I am so happy for all that his future holds, but I will never stop missing my anchor.”
Eighth Blackbird will be sharing more about its next season and new collaborators in the weeks to come. In the meanwhile, we invite you to join us in sharing your good wishes with Nick.
Elly Toyoda was one of the 30 Blackbird Creative Lab fellows in June, 2018. Last month, she joined Eighth Blackbird as their violinist at the University of Oklahoma. Elly will also be playing additional engagements with the ensemble February 14, 2020 at Gettyburg College and February 16 at The National Gallery in Washington DC. Elly recently reflected on her fast trajectory with the ‘Birds…
After experiencing Eighth Blackbird live for the first time, I knew that I wanted to be part of such a dazzling ensemble in the future. Being selected to participate in their Blackbird Creative Lab in 2018 brought me closer to my goal of discovering the golden formula that makes the sextet’s performances so captivating.
The formula— from what I could gather— is constant exploration of possibilities beyond the given music and the composer’s or the musicians’ initial assumptions or expectations. For example, when preparing Kamala Sankaram’s Kivalina at the Lab, faculty member and choreographer Ros Warby and fellow Lab alumna Xuan Zhang worked with my group to incorporate choreography and videography to bring new dimensions to the music. We were not only playing it, but embodying it; so an audience could then not only hear it with its ears, but with its whole self as well. I realized that I find much joy in the creative, generative practice of making music, not just the re-creative part that occurs in performance. This seminal experience also reinforced my belief of what the essence of music is: when an inanimate object (indeed, a wooden box with steel strings or a piece of metal with keys on them) can produce sounds that resemble living and breathing things, we, musicians, can tell a story that can transport listeners to another world.
Eighth Blackbird often brings extraordinary life to the music it plays even without cross-disciplinary elements, pulling its listeners to the edge of their seats. Hearing them perform Holly Harrison’s Lobster Tales and Turtle Soup at the Lab Showcase Concert in Chicago last March was one of those instances, so I was particularly excited to learn I would get to play this piece with them in Oklahoma! What I noticed from performing the Harrison and other pieces with them, was that they gain the energy from the audience and the environment in that moment, and respond to it accordingly. While staying true to the score and its intricate nuances, they are enjoying and living in the present, and always involving the audience in the music. This type of flexibility and commitment could only thrive from solid preparation, entailing detail-oriented rehearsing and deep analyzing of the compositions. It was inspiring to take part in this process and observe how that manifested in live performances. This dynamic way of being has fueled my ideal model for rehearsing and performing going forward.
My personal intent is to be involved with this type of music-making as much as possible, and hopefully to enrich others’ lives in the same way it is for mine. In addition to performing on the stage, one of the practical ways to spread this joy is to teach. Hence, I am pursuing a doctoral degree in violin performance with hopes of expanding my teaching opportunities and what I can bring to my future students. I am so grateful for being included in the residency at the University of Oklahoma, and several more in the new year. Being a student myself, it was certainly nerve-wracking and surreal to give my first-ever masterclass to musicians close to my age, but I was incredibly excited to share in the process of them receiving Eighth Blackbird’s guidance, which for me has already been a life-changing influence.
I think most musicians would agree that there is nothing more gratifying in our careers than simply playing great music with great musicians, for audiences of all types. My days at both the Lab and the Oklahoma tour were exactly that. Both were tremendous learning experiences and a ton of fun, that reminded me why I make music and how I want to go about it; what more could I possibly ask for! I can’t wait for my concerts with them in the new year.
We are proud to share just a few fall highlights which exemplify one of Blackbird Creative Lab’s midterm goals: to create a confident and self-sustaining network of peers who could translate the core lessons of the Lab into professional maturation, clearer strategy and resources not only for creating exciting work, but also raising the funding, gathering the team, negotiating the fees and confronting unexpected obstacles to get it done.
In September, 2018 alumna, soprano and North Carolina native Andrea Edith Moore, recorded her debut album Family Secrets: Kith & Kin with Eighth Blackbird’s Lisa Kaplan on piano, Nick Photinos on cello and 2017-18 Lab Director and Grammy award-winner Elaine Martone as producer.
In October, 2018 ensemble ~NOIS premiered new works by Kinds of Kings collective, with leadership from Lab alumna composer, curator and writer Gemma Peacocke at New York’s famed Roulette in October. A mini reunion was had by all the east coasters who attended. Read a review from I Care if You Listen here.
In November, Detroit-based soprano-cello duo, Juxtatonal, Lab ’17, joined saxophonist/composer Nick Zoulek, Lab ’18, in Chicago for a ten day midwest tour at venues in Chicago, Wisconsin, Michigan and Ohio. As with the projects above, these Lab alumni ran effective fundraising, marketing and communications campaigns as well as showing their production shops.
That Lab alumni are truly making manifest the core values of The Lab with the BHAGS (big hairy audacious goals):
intense work ethic
Last, but very much not least, 2018 Lab alumna and violinist Elly Toyoda stepped away from her doctoral studies to perform for a week at University of Oklahoma with Eighth Blackbird as its violinist. She will play with The Birds in February and April 2020 as well. We love you Elly!
The first week of October, Eighth Blackbird goes into the studio at the Logan Center in Chicago’s Hyde Park to record singing in the deadof night by Michael Gordon, David Lang and Julia Wolfe. The album will be released on longtime Eighth Blackbird label partners, Chicago-based Cedille Records, in late spring of 2020. The live version staged by Susan Marshall we be remounted and presented during the 2020-21 season.
Founding Eighth Blackbird violinist Matt Albert returns to play violin and Bang on a Can All Star Ken Thomson joins the ensemble on clarinet for the project. Five-time Grammy award-winning Elaine Martone is the producer and Cedille’s Bill Mayone, the engineer.
The title, a reference to the Beatles’ Blackbird, is also inspired by Wolfe’s sonic portrait of insomnia. In 2008, The New York Times’ Allan Kozinn called the piece “energetic and occasionally spooky while the Guardian’s thought parts of it “scary and mesmerizing”.
singing in the dead of night marked the first collaboration between maverick composers David Lang, Michael Gordon and Julia Wolfe (Bang on a Can) and seminal New York choreographer Susan Marshall. This 60-minute, fully-staged theatrical production had the ensemble jamming ‘round the piano, guitar and accordion in hand; ritualistically and tragicomically dropping metal objects onto an amplified floor; and sweeping through an amplified table filled with sand. Inspired by the ensemble’s distinctive predilection for memorization and the embodiment of their music through movement, singing in the dead of night was a continuous weave of music and motion. More about the 2008 production here!
singing in the dead of night was commissioned by eighth blackbird through the generous support of the Jebediah Foundation, Frederica and James R. Rosenfield (specifically towards work of David Lang), San Francisco Performances, and the University Musical Society at the University of Michigan.
Congratulations to Eighth Blackbird’s flutist Nathalie Joachim for the release of her debut album with Spektral Quartet, Fanm d’Ayiti! She composes, she sings, and still plays a mean flute-this woman does it all and we are so proud of her. She and our fellow Chicago chamber music buddies in Spektral gave a fabulous record release concert at the Black Ensemble Theater on September 13. If you are in NYC, catch the east coast release on October 26 at Merkin Concert Hall.
“Fanm d’Ayiti features the powerful Haitian female voices from yesterday and today, including the recorded voices of Joachim’s grandmother, the girls choir of Joachim’s family’s home farming village of Dantan, and conversations with Emerante de Pradines, a prized voice of Haiti’s Golden Age; Milena Sandler, daughter of the late, famed chanteuse Toto Bissainthe; and celebrated vodou songstress Carole Demesmin. I feel lucky to be joining my voice with theirs, and bringing listeners a sonic portfolio of my originals and arrangements of historic Haitian songs, woven together in a musical celebration of activism and hope.” ~Nathalie
Read more about the album in this stellar review from David Hadju at The Nation, and this one from Megan Inhen on I Care If You Listen. And catch the show on tour this season!
September 10 Eighth Blackbird had the pleasure and honor of kicking off its season with a free, public a concert on all three floors of Columbia College’s Museum of Contemporary Photography in a program responding to the provocative exhibit Go Down Moses, curated from the museum’s permanent collection by Teju Cole.
Matthew Duvall, who curated the program said this:
Teju Cole’s enveloping introspection, Go Down Moses, is a carefully considered “program”. We often reserve that description for musical events, for a collection of compositions that carries one through time in a succession of experiences, aiming to culminate in some sort of visceral conclusion, perhaps abstract, but emotionally impactful nonetheless. Teju Cole has curated this exhibit in the way a musician sculpts a program. Starting with previously disparate pieces in the permanent collection of the Museum of Contemporary Photography, the photographs are composed by Cole into a clear structure. It is a trajectory from absence to presence, from stasis to chaos, from repose to terror. The arc is exponential, not linear, and builds with a pressure that leaves the exhausted observer to contemplate the unanswerable questions of how, and why.
Louis Andriessen: Workers Union (1975) Ana Roxanne: Slowness (2019) commentary by Dr. John “Planetwalker” Francis Workers Union (continuing) Peacocke*: Amygdala (2015) *Blackbird Creative Lab Alumna Workers Union (continuing) J.S. Bach, Partita in A minor for solo flute, BWV 1013: III. Sarabande (~1723) Workers Union (completion) Ayana Woods: Patience (2016)
…seeks to support both the literal and figurative accumulation of content. Workers Union is the connective tissue, beginning as an estranged whisper and concluding as something quite the opposite. The remaining repertoire is an offering specific to each gallery, mirroring the shifting perspective of the human condition. Beginning with the faceless vacuum of anatomic fields and endless highways, the performance has already started.
On September, percussionist Matthew Duvall joined composer and Eighth Blackbird collaborator Matthew Burtner for opening night of New Music Detroit’s 2019 Strange Beautiful Music Festival, curated by Lab alum, soprano Jocelyn Zelasko. Saxophonist, composer and Blackbird Creative Lab alum, Nick Zoulek, who recently relocated to Chicago, also performed on the program. Over the weekend, Jocelyn performed pieces by Lab alumna Nina Shekhar and Zoulek’s upcoming release Enter Branch. New Music USA was in town for the festival, including its new CEO Vanessa Reed and new board member Chere Lott, who generously served on Eighth Blackbird’s board for several years.
The same weekend, pianist Lisa Kaplan and cellist Nick Photinos joined Blackbird Lab alumna, soprano Andrea Edith Moore, to record her debut album, Family Secrets: Kith and Kin in North Carolina. The 2017-18 Lab program director, five-time Grammy award-winning producer Elaine Martone joined the group as the album’s producer.
Eighth Blackbird joined Bonnie “Prince” Billy, the National’s Bryce Dessner to create and record When We Are Inhuman, which will be released on Friday, August 30 via 37d03d. Lisa Kaplan, Eighth Blackbird’s pianist has written gorgeous new arrangements of several Will Oldham songs which feature the sextet. The album also includes movements from Bryce Dessner’s Murder Ballades and a live performance of Julius Eastman’s “Stay on It”, an iconic piece of 21st Century American music included in Eighth Blackbird’s current touring program.
We write to share news of additional transitions within Eighth Blackbird before making a public general announcement and before our full, dynamic 2019-20 season begins. Though saying goodbye is bittersweet indeed, we hope to share our excitement about two founding members who will be returning, as well as for two more fellow Oberlin graduates who will play in Eighth Blackbird for the first time this season.
Eighth Blackbird’s founding clarinetist and co-artistic director, Michael Maccaferri, has accepted a new role in the Information Technology sector and departs from Eighth Blackbird this week. His future colleagues and clients are lucky to have him on their team and we wish him the very best in this new phase of his professional life.
Michael shared earlier this summer, “I am inordinately proud of the accomplishments and impact that Eighth Blackbird has made over the last 20 plus years. If it were all to end tomorrow, I know that through our hard work and creative dedication we have been fortunate to touch the hearts and minds of thousands of listeners and learners.”
We are thrilled to announce that Chicago-based clarinetist, Zachary Good, will join the ensemble for the majority of the season as well as for its ongoing residency at the University of Richmond. A fellow Oberlin Conservatory alumnus, Zach has performed with Eighth Blackbird, International Contemporary Ensemble, Third Coast Percussion, Lyric Opera Unlimited, members of the Chicago Symphony Orchestra, Manual Cinema, Ensemble Dal Niente, and the New World Symphony. As a fellow of the Civic Orchestra of Chicago, he established the annual New Music Workshop. Zach is a founder/co-artistic director of the interdisciplinary group Mocrep.
Bang on a Can All Stars clarinetist Ken Thomson and Eighth Blackbird’s founding violinist Matt Albert, join the ensemble for its upcoming recording of Singing in the Dead of Night, written for Eighth Blackbirdby Michael Gordon/David Lang/Julia Wolfe. The recording will be produced by GRAMMY award-winning producer Elaine Martone and released on Cedille Records in spring, 2020. Dr. David Brooke Wetzel, who teaches computer science and clarinet at Loyola University in Chicago, will play clarinet when the ‘Birds perform a new work by composer, sound artist and eco-acoustician Matthew Burtner at the Coastal Futures Festival, UVA.
Eighth Blackbird’s founding flutist Molly Barth will return to play the balance of the season after Nathalie Joachim completes her tenure with the ensemble in December. Five of the six original ‘Birds, along with Zach Good on clarinet, will perform Jennifer Higdon’s On a Wire this March at the Oregon Music Festival.
And finally, in addition to Matt Albert, who will play on a number of concerts this season, Blackbird Creative Lab 2018 alumna, Elly Toyoda, from Osaka, Japan, joins the ensemble on violin in Oklahoma, Gettysburg College and at the National Gallery in Washington DC. Elly and Zach were contemporaries at Oberlin Conservatory, so a second generation of baby ‘Birds takes flight along many of its founders this season! Both are now doctoral candidates; Zach at Northwestern and Elly at Rutgers. Read more about all of Eighth Blackbird’s 2019-20 collaborators and other guest artists here.
As always, Eighth Blackbird remains committed to its mission and its audience, and welcomes any questions or concerns you may have. And thank you for the kind, wise and supportive support so many of you have already shared during such a pivotal time for this extraordinary and growing flock of artists.
“One with the Birds”, the second single from our forthcoming collaborative album When We Are Inhuman, is now streaming on all music platforms!
“I think of Will’s songs as the closest thing we have now to classic, traditional folk music,” says Bryce Dessner. “I imagine people will still be singing them in 300 years.”
On August 30, Bonnie ‘Prince’ Billy, Dessner and renowned contemporary classical ensemble Eighth Blackbird will release a new collaborative album, When We Are Inhuman (37d03d), featuring a live performance of Julius Eastman’s “Stay on It,” four new Eighth Blackbird arrangements for Will Oldham, and a continuation of Bryce Dessner’s Murder Ballades series for Eighth Blackbird.
The new version of “One with the Birds”, arranged by Eighth Blackbird pianist Lisa Kaplan, “is very different from the original,” she describes. “We used the birdcalls of all the different birds named in the song, and the extended piano intro was inspired by my friend Thomas Bartlett whom I had seen perform with The Gloaming just before making this arrangement.”
This group of friends first collaborated at Dessner’s 2018 MusicNOW festival in Cincinnati, where Oldham compared working with Eighth Blackbird to becoming acquainted with a “haunted house,” continually returning to the same spot and observing how his fear was interlaced with a charged energy. The new version of “One with the Birds” pushes Oldham’s voice to new heights, and its shimmering introduction is a window into Oldham’s bleak, poignant sound world.
When We Are Inhuman will be out August 30 (37d03d / Secretly Canadian) and available for preorder here.
If the Blackbird Creative Lab taught me anything (and it certainly taught me A LOT of things), it’s that a true connection and a sense of community are born out of committing to vulnerability and exploration.
Last weekend, Eighth Blackbird invited two Lab alumni ensembles, ~Nois (’18) and Juxtatonal (’17), to come together to present concerts with them for the Chicago Park District’s Night Out in the Parks initiative. The CPD presents over 2,000 events throughout the city with the goal of bringing communities together around shared artistic experiences. When collaboratively programming for these concerts, we started with that as a guiding principle. Both afternoon concerts were offered in venues where none of us had ever performed before — the Hamilton Park Cultural Center in Englewood on Chicago’s south side, and the historic landmark Garfield Park Conservatory on the west side. If we want to connect to new audiences, we ourselves have to open up to them. We must be vulnerable. If we want to create community with our audience, then there must be a sense of community amongst the players — and our programming reflected this.
For our performance at the Hamilton Park Cultural Center, ~Nois, a Chicago-based saxophone quartet, opened the show with Dwalm by Gemma Peacocke, herself an alumna of the ’18 Lab. Dwalm was written for ~Nois at the Lab and its open-heartedness immediately made it a standard for our 2018-19 season. Juxtatonal, a Detroit-based voice and cello duo, took the stage next performing Sarah Hersh’s In Praise of Continuous New Dreams of NYC and #nofilter by Michelle McQuade. The electricity between Jocelyn and Bryan as they perform is truly inspiring to see and hear. They play so naturally together, it’s hard to believe that they only came together at the 2017 Lab.
For the rest of the concert, Eighth Blackbird invited frequent collaborator, local composer and bassist Matt Ulery and his jazz trio to join them to play a set of Matt’s pieces as a nonet. ~Nois and Juxtatonal joined for new arrangements of the final two tunes — making our ensemble 15 strong (if anyone knows what a group of 15 musicians is called, please drop us a line! A fifteen-tet? A doquintet?? A five-and-dime-tet???). We had never played together before, but by opening ourselves up to each other, we made some beautiful music, that also provided a portal into new music through jazz idioms, in a neighborhood that hosts its own jazz festival and boasts an afterschool youth jazz program led by former AACM cahir, Ernest Dawkins. Some of the group joined Ernest and other elders from the Live the Spirit Residency following the concert for a two hour summer solstice drum circle filled with local residents aged 2 to seniors.
The following day at the Garfield Park Conservatory, the biggest questions were posed by the space — what to do about all of the plants?! Instead of trying to find nice palm trees to sit under for the whole show, we decided to have the performance progress throughout the rooms dedicated to different floral environments, like a relay race. Lisa Kaplan kicked off the show in the Aroid Room, tucked among the ferns, playing toy piano pieces by John Cage. Then in an adjacent, larger, dry space with nesting birds who sang along, Juxtatonal and Eighth Blackbrd’s violinist, Yvonne Lam played a beautiful work by Sarah Kirkland Snider called Chrysalis. Yvonne was Juxtatonal’s coach at the Lab, so it was beautiful to see mentor and mentees performing together. Cellist Nick Photinos then gave a wonderful performance of Nathalie Joachim’s Dam Mwen Yo before percussionist Matthew Duvall launched into Matthew Burtner’s Broken Drum, drawing the by-now substantial crowd into the expanse of the Palm Court, where an old agave had literally grown through the glass ceiling a few days earlier. The juxtaposition of the industrial sounds of a brake drum amidst irrepressible nature was particularly striking. Juxtatonal then performed Griffin Candey’s Not So Far as in the Forest which appropriately took place on the “Jungle Path.” ~Nois wrapped up this set on the steps of the Fern Room with Emma O’Halloran’s vibrant Night Music, which was inspired by her time spent living in Miami. The humidity of the Conservatory certainly gave the piece an extra layer of realism.
To conclude the concert, the three ensembles as a full company performed Pauline Oliveros’ Tuning Meditation in the Fern Room which features a winding path with mossy walls of plants around a rock pond full of koi. A simple piece, the performers either play or sing any note from their imagination or match the pitch of someone else. We invited the audience to join us with their voices for this performance and to walk around the path with us, which they did enthusiastically. It was an absolute joy to pass by strangers who were singing along with me. All of us together created a beautiful sonority that mingled with the tranquil, central sound of a small gushing fountain. I was incredibly moved by the image of a man and a woman embracing and singing together — that will stay with me for a long time. During the Oliveros, Matthew was simultaneously performing James Tenney’s Having Never Written a Note for Percussion on a tam-tam. The piece is a simple wave of sound from the softest soft to the loudest loud and back again. Matthew told me afterwards that during the piece, a turtle popped its head out of the water and stared at the tam-tam the whole time, soaking in the vibrations. His Latin teacher from Oberlin also stopped with his son to say hello.
The performance of the Oliveros in particular reminded me why I continue to make music — to connect with people. Too often music is presented with a barrier between the performers and the audience members. Venues, performance times, ticket prices, and social elements like dress and perceptions about genre can be barriers. What I loved about attending the Blackbird Creative Lab was that all the fellows shared a desire to chip away, erode or break down those walls and Eighth Blackbird encouraged and helped us find our own ways to do so.It is thrilling that just a year after our two week summer intensive Lab at Ojai, we find ourselves more fully ourselvesand playing side by side with some of our chamber music mentors. All art is communal and if we open ourselves up and allow ourselves to be vulnerable, we can truly connect with others. Let’s all be more like the people embracing and singing during the Oliveros — the world needs more of that.
In addition, our flutist Nathalie Joachim will be concluding her tenure at the end of the calendar year. Nathalie’s trajectory as an instrumentalist, vocalist, composer and change agent has been exciting and beautiful. She will be committing to her full-time role as Co-Artistic Director of flute duo Flutronix; Director of Contemporary Chamber Music at the Perlman Music Program; and mentor in National Sawdust’s new BluePrint Fellowship Program in collaboration with The Juilliard School. The upcoming release on New Amsterdam Records and tour of her evening length work Fanm d’Ayiti with Spektral Quartet begins this summer; and she is busy composing a number of upcoming commissions for artists including Seth Parker Woods, Duo Noire and Lorelei Ensemble. Eighth Blackbird will keep you posted about our flutist for concerts in Spring 2020.
We are thrilled that Eighth Blackbird’s founding violinist, Matt Albert, Assistant Professor and Chair of Chamber Music at the University of Michigan’s School of Music, Theatre & Dance, will return to play with the ensemble for the majority of the 2019-20 season, as well as on the recording of Singing in the Dead of Night, written for Eighth Blackbird by Michael Gordon/ David Lang/ Julia Wolfe, to be released on Cedille Records.
As always, Eighth Blackbird remains committed to its mission and supporters, and welcomes any questions or concerns you may have. We ask for your continued support and enthusiasm as we begin the arc towards the ensemble’s 25th Anniversary in 2021, celebrating our history and our future, and we hope you will help us welcome two new ensemble members in 2020.
On behalf of Eighth Blackbird,
Chief Operating Officer
Last week we went straight from our Richmond Playbook performance to Lansing, where we embarked on a whirlwind three days of residency activity and a performance at Michigan State University.
Spring weather greeted us on the first day, where we kicked off our visit with a presentation for the woodwind convocation. Matthew was busy rehearsing with the percussion ensemble, and Lisa’s flight got terribly delayed, so we ended up playing a few solos and duets before fielding questions from the students. We’ve had a few travel mishaps this season, so we’ve gotten quite good at regrouping quickly (pun intended).
After the convocation, we divided and conquered not one, not two, but three sax quartet coachings at once! The saxophone department is really top notch, and we were all blown away by the level of playing. I heard one sax quartet play a wonderful composition by their baritone player, who arranged it for sax quartet when he couldn’t get a string quartet to play it (whomp, whomp). When Lisa finally arrived, she, Nick and Nathalie gave a talk on composition, and Michael ended his night with yet another sax quartet coaching.
The next day, we got up bright and early to play for about a hundred 7th graders at Chippewa Middle School, where the orchestra program is bigger than the band (about the only time I’ve ever heard of that happening). They were attentive and rowdy, your typical 7th-grade kids, and we gave them a good taste of some classic Eighth Blackbird fare. Then it was a piano chamber music masterclass, a woodwind masterclass, a radio interview, a composition reading, a clarinet masterclass, and a percussion ensemble concert. Trust me, there was wine at the end of that day.
The final day was our performance day, so we kept it light with just an interview with me and Nathalie in the middle of the day. We were the inaugural visiting artist of their new Entrepreneurial Artist Series (not sure if I got that name right), generously supported by the Michigan State University Federal Credit Union, so the university wanted us to talk a bit on-camera about what being an entrepreneur means and the importance of arts education. We performed in Fairchild, which is actually a double hall, which I’ve never seen before. On one end, it’s a 400-seat hall, and on the other, 3500 seats, with a shared stage in-between. We performed in the smaller hall, of course, but it was well-attended: Lab alums Nina Shekhar, Nick Zoulek and Jocelyn Zelasko and our beloved Matt Albert were among the illustrious (at least to us) audience.
Next we’re off to UNCSA to do a residency that was originally scheduled in February but canceled due to the polar vortex. Hopefully the spring weather will hold up…
Last Sunday in Richmond, we scared little children and stalked strangers.
Or so it seemed until they realized what was really happening. We were actually performing The Richmond Playbook by Danny Clay, who had visited campus with us three times to prepare a large group of music students for this happening, which occurred both in Camp Concert Hall and out on the green in front. Danny composed a series of games derived from the ones he workshopped at the 2017 Lab to be performed at Richmond and uniquely shaped by the students.
Here’s some examples of us rehearsing a couple of the games:
Each of the games is written as a set of instructions, and to the extent any pitch is required, Danny gave a set of pitches to choose from. He envisioned the performance starting inside, with Eighth Blackbird playing an initial game from the audience that brought us on stage. Then we played games with the students, who were sprinkled throughout the audience and on stage. And then we led everyone outside, audience included, where we played yet another set of games without intentional and sometimes unintentional audience. We followed children around, playing pitches to their footsteps, which frightened many of them until they realized they were the ones actually in control. We stalked unwitting adults in the same way, some of whom enjoyed the attention, and others not so much. At the end, Danny summoned us to gather around the central fountain and converge on a single E-flat, and he signaled the end of the performance with the ding of a red bell.
The weather couldn’t have been more perfect – 75 degrees and partly sunny – and it was such a fun way to engage musically with an audience. Having a simple set of instructions or parameters is actually quite freeing, because then you have just enough structure to improvise within. I saw everyone having a blast, laughing out loud, enjoying the absurdist nature of what they were doing but also appreciating the quite profound effect it had as a whole.