San Francisco Symphony: Chamber Music

San Francisco Symphony

Chamber Music Series

Davies Symphony Hall

February 28, 2010

Mozart, Quartet in D minor

If you are a teenager on a sunny Sunday afternoon, a rarity in San Francisco this winter, there may be no better place to catch a quick cat-nap then when your parents are forcing you to enrich yourself at Davies Symphony Hall during the Mozart String Quartet in D minor. The lights had not been dimmed for more then 5 minutes when the teenagers in front of me were sacked out, precariously propped up against one another.

The playbill notes describe the first movement of the Quartet as conveying ‘general pathos’ and an ‘atmosphere of fatalism’ while the dense counterpoint, until the recapitulation, adds a ‘nervous edge’ until the ‘bitter end.’ A seemingly perfect piece for the angst ridden alienation of the lives of teenagers, but not at Davies Symphony Hall. Of course, I am no teenager and I have to confess that I did not quite appreciate the plummeting octave intervals or the later dense polyphonic minor-key forcefulness of the second movement as fully as I was hoping.

Although the talent of the string-players was world-class, the piece washed over me with out any deeper connection that I hope for from classical music other than to note some pretty melodies and a nice flourish of rhythmic plucking in the final movement that shook me from my classical music stupor.

Brahms Quintet in B minor for Clarinet and Strings, Opus 115

After the interval, the next group trotted out for a more rewarding performance of one of the most famous clarinet pieces. The full timbral effect of the clarinet plus strings was far more engaging and the lone wind instrument weaving amidst the strings was both beautiful and entrancing.

In the second movement, the interplay of the clarinet and first violin shared thematic duties adding a Gypsy-flavored flair which can be found in Brahms at times. I have often stated that I am not a fan of Brahms, but I think tastes change as you grow older. Although I still do not favor his vocal arrangements, I have a growing appreciation of his symphonic and chamber music efforts- though they still strike me as heavy-handed from time to time. But this was not the case with his Quintet in B minor.

The finale is a theme with five variations. The second is full of rhythmic displacement that I think is easy to appreciate for a modern audience accustomed to experimental rhythmic adventures frequently found in jazz and popular music. The fourth variation was written in a contrasting major key and leads beautifully to the final variation, a waltz before a coda which returns thematic material from the opening movement. Even the teenagers were able to pay attention. A serious piece, but a delightful performance, and well worth spending the afternoon indoors on a sunny day.

AFI/Muse and the Black Crowes: Abby Musing

AFI and Muse
Oakland Coliseum
Oakland, CA
December 11, 2009

Senior Correspondent Abby Gregory

There was a rather long lineup of acts at the 'Live 105 Not So Silent Night' show which included many up and coming bands such as 30 Seconds to Mars, Vampire Weekend, and Metric; yet, I was only able to see AFI (A Fire Inside) and headliners Muse. Why would I miss such a hot band as Vampire Weekend? Well, show tardiness is an inevitable outcome when you allow the drunks in the group to plan the public transportation logistics across the Bay from San Francisco to Oakland. In addition, after a few drinks, the necessity for a burrito-run in the Mission also assumed a certain misplaced priority, but you can’t reason with the inebriated. So, I arrived at the Oakland Coliseum just as AFI was coming on stage. Fortunately for me, AFI and headliner Muse made up for our late arrive with two amazing sets.

AFI formed in Ukiah, California in 1991 which is probably why I only recently discovered them in 2006 when they released Decemberunderground, but I have been a fan ever since. This album's first single "Miss Murder" was a huge hit and AFI finally began to receive some overdue recognition. AFI has a punk/alternative sound that has evolved quite a bit over their long lifetime. I have never seen AFI live, and was excited to see them perform. They put on a fantastic set, and included songs from their older albums as well as their new release, Crash Love.

Following AFI, Muse came on to a standing crowd. They performed all of their hits old and new, including a couple of my favorites, “Supermassive Black Hole” from Black Holes and Revelations and the new hit “Uprising” from The Resistance. I am also a recent fan of Muse, so was not familiar with much of their older work, but found their performance to be phenomenal. Their onstage presence was outstanding, they were able to connect with the large crowd and get everyone going, not a small feat when you're the sixth or seventh band of the night. Out of Devon, UK, Muse has been a critic’s darling which is no surprise since their sound is reminiscent of Radiohead. Their latest album, The Resistance, is the band’s fifth album and is truly a broad spectrum musical endeavor- rock with a symphonic overtone.

Both bands put on a great performance and it was totally worth seeing them in a large venue even as late as I arrived. I walked away a bigger fan than ever of both AFI and Muse.





The Black Crowes
The Fillmore
San Francisco, CA
December 6, 2009

The Black Crowes formed in 1984 and have had a regular rotation of band members since that time - with the exception of singer Chris Robinson and his brother guitarist Rich Robinson who are the creative forces in the band. They are heavily invested in 1970's Southern rock sound that makes me nostalgic for Led Zeppelin (the Crowes have previously toured with Jimmy Page) and the Allman Brothers, from whom they are direct descendants. The Crowes are big favorites in the jam band scene. I have been an intermittent fan of the Black Crowes since High School. Last year, I rediscovered them again with the release of their album Warpaint and after hearing their new album, Before the Frost….Until the Freeze, this past August, I decided that I really should see them live. They are well-known for long and enthusiastic performances and I could think of no better venue than the Fillmore in San Francisco for such an auspicious occasion.

Before the Black Crowes, Truth and Salvage Company opened the show. I enjoyed their set so much I actually purchased their CD. They also have a great 70's Southern rock sound, and turns out the album is a great listen. It is no real surprise that they opened for the Black Crowes since Chris Robinson produced their CD. They performed a great set, approximately 45 minutes long, and were a nice lead-in for the Crowes.

The Black Crowes walked on stage, and without fanfare, immediately launched into their set. While they played a great deal from the new album, Before the Frost…Until the Freeze, and a few songs from Warpaint, but they did not play as many songs from their older albums as I hoped. They played for approximately 2 hours with no chitchat, or gratuitous information, as some bands are wont to do these days. While an overall solid show, I think it could have used a little more “something.” It just seemed a bit lackluster given their history, reputation and musical capabilities. I am glad that I had the opportunity to see them at The Fillmore though, which served as a great backdrop. All in all, a pretty decent show.

Rickie Lee Jones: Bohemian Troubadour

Rickie Lee Jones

The Fillmore

San Francisco, CA

December 19, 2009

Rickie Lee Jones: Bohemian Troubadour

Who raised this banner/ that no one hears?/ The Jack beneath the axis/ Digging under the current/ Someone’s trying to get back/ But who’s qualified to retrieve the soul’s enduring song?/ from the grottoes of her eyes/ and the clashing of the stars

Throughout my college days, I had this quote from Rickie Lee Jones’ “Traces of the Western Slope” hanging on my dorm-room door. I have a long history with Rickie Lee Jones. I first heard Rickie Lee when I visited my alma mater, Lawrence University, as a high school senior. For a Midwestern boy raised on Journey, Styx and Rush, Rickie Lee Jones was a revelation. Her early days as a bohemian troubadour were far from the power chord ballads, new wave and bubblegum disco that typified FM radio in the Midwest during the 1970s and 1980s. She sang songs about down and out characters in bars and motels hustling in order to get by. Listening to her intelligent, poetic, melodic songs opened me to a musical world that I was only vaguely aware of and set me off down a road of lifetime musical exploration. I think most diehard music fans have had this kind of revelatory experience with some artist and for me it was listening to Rickie Lee Jones.

For most people, RLJ is known, mainly, if not entirely for the 1979 mega-hit “Chuck E’s in Love” which seems to provoke a love/hate response. A later hit, “It Must Be Love,” is less well-known but has appeared in more than a handful of movies and TV shows. However, for me, her second album Pirates will always be my favorite. It contains what I consider to be the greatest love song ever written, “We Belong Together,” and one of my all-time favorite songs, “Livin’ It Up.” RLJ went on to experiment less successfully with various musical styles in later albums, including jazz and trip-hop. But she still has a dedicated fanbase that comes out whenever she tours.

RLJ can be a bit of a mercurial performer. The first time I saw her was in Milwaukee in 1984 when she yelled at ushers from the stage for seating people after the show began. She also wore a short blouse and a sport coat over a pair of panty hose and nothing else. When she leaned over she mooned the whole audience. I was in the second row and had a close up view of, well, everything.

Last night at the Fillmore, RLJ's voice sounded better than it has in years. The crowd was very enthusiastic and she was clearly enjoying herself. The highlights included “Weasel and the White Boys,” a re-arranged “Livin’ It Up,” “Easy Money” (a nearly perfect example of story-telling song-craftmanship) and her cover of David Bowie’s “Rebel, Rebel.” She also did a fantastic version of “We Belong Together.” RLJ was joined on stage by a small ensemble that included bassist and San Francisco native Rob Wasserman, who has previously performed with Jerry Garcia, Neil Young, Lou Reed, Van Morrison and Elvis Costello to name a few. He is perhaps one of the most talented bass players around and added the perfect touch for almost every song. It was a great evening of music and a reminder of why Rickie Lee has a special place in my heart.

Them Crooked Vultures: Don’t Call Them a Supergroup

Them Crooked Vultures
Fox Theater
Oakland, CA
November 19, 2009

Them Crooked Vultures: Don't Call Them a Supergroup


It's been a while since we have had to tolerate the popular formation of "supergroups." Oh, sure they never really went away entirely, but the numbers definitely seemed to dwindle after the 1990s. Perhaps artists were intimidated by the megasuccess, the super-success of Asia's 'Heat of the Moment.' Yet, in the past couple years, there seems to be a growing trend amongst the 'talented malcontents' of other more famous bands to form these groups, see e.g. Velvet Revolver, Chickenfoot, Monsters of Folk, etc. However, these names alone should readily indicate the struggle faced by these bands to capture their member's former glory. Supergroups have notoriously not been very super. And, unfortunately, Them Crooked Vultures is not an exception to the rule.

Supergroups tend to appeal to devoted music fans who know enough about the movement of their favorite musicians to keep track of who is playing with who. How many people can name the members of Nirvana not named Kurt Cobain? And how else can you explain a sold-out Fox Theater show for a band whose first album was released only this week?

TCV is comprised of Dave Grohl, former drummer of Nirvana and singer for the Foo Fighters; John Paul Jones, former bassist for Led Zeppelin; and Josh Holmes, former front-man for Queens of the Stone Age. With that kind of talent, you'd expect flashes of brilliance at the Fox Theater last night - which there definitely were, particularly when they played their album's first single, "New Fang" (which sounds oddly familiar to me). I also can't deny that Jones and Grohl are an amazing rhythm section and together, they can catch fire as they did during "Scumbag Blues." Unfortunately, the weak link in the band's superness is clearly Josh Holmes who was front and center for most of the show. His singing, while competent, is unremarkable and his guitar-playing lacks any real inventiveness or spark.

It is no surprise that TCV should sound like a mash of Queens of the Stone Age, Led Zeppelin and Nirvana, but it is a surprise that the combination doesn't sound like any of those bands individually (if you get my meaning). This is probably a good thing for the classic-band status of those groups. TCV sounds like an updated 1970s hardrock outfit - a bit like what I would expect Slade or Foreigner to sound like if they formed in 2009. Need I say more? Although there were flashes of greatness, I think the band's determination to show just how hard they can rock undermined the final result. It was great to see John Paul Jones and Dave Grohl on stage as they are two under-recognized luminaries in rock history, but their own rock history demonstrates very clearly that they can do better.

Imogen Heap: Loopy

Imogen Heap
Zoe Keating
The Fillmore
San Francisco, CA
November 10, 2009

Imogen Heap: Loopy

Music today is undergoing a technology-driven revolution not only in the production and distribution of music but also in its creation and in its performance. For most consumers, the revolution is most keenly experienced in the distribution and consumption of music through iTunes and iPods. But, artists are also in the midst of a technology revolution in the creation and performance of music.

And for better or worse, Imogen Heap is in the middle of it. For those of you not in-the-know, Imogen Heap is sort of a cross between Sarah MacLachlan and Kate Bush. IH writes and records pensive, personal ballads about love-life tribulations with an experimental element. She loves sounds and embraces electronic effects in her songs, but she does not fall into the electronica music category of thumping dance music. However, she does use looping effects frequently or, perhaps, better to say constantly. Looping, for those not-in-the-know, involves feedback systems using digital delay devices to create repetitions of short musical motifs. These repetitions can remain limited to simple repeated phrases or can add up to a more complex texture which can constitute the melody of the song or might just be used as color, atmosphere or a rhythmic background.

For me, the problem with electronic music performance is that it is difficult to relate to. There were frequently no instruments being played at all as Imogen danced across the stage, swinging her arms, and singing to repetitions of musical snippets that played out on her computer. There is no denying that Imogen Heap can construct songs and is musically very knowledgeable and is a decent pianist but it can all get lost in the technical tricks. Part of me was left wondering is pushing a button to create a loop really a musical performance?

Before IH, Zoe Keating performed her own take on looping. Zoe is a Bay Area celloist that is a true artist. Her cello-playing interacted with loops of her own music that she created and controlled with foot pedals in real-time. It was both fascinating and revelatory. Her playing (and looping) was a real performance that was spell-binding. She lent artistic credibility to the electronic looping that IH did later. Fortunately for the audience, Zoe also came back for a handful of songs with IH. Still, her brief set was the highlight of the night.

A couple low-points from the show: Imogen is quite a good singer but has an annoying habit of singing very breathily when she wants to be really expressive. Rather unnecessary when she can sing so well. Also, her banter in between songs was more prattle than patter and often lasted longer than the songs which made me regret the end of the songs because I would have to wait 5 minutes for the next while she babbled on inanely. This became a true test of patience for the audience.

Nevertheless, Imogen is clearly an inventive and talented musician and song-writer. The show was also sold-out demonstrating IH is on the ascendancy, but I got the distinct impression that she has not realized her potential or created the masterpiece that lurks within her. I hope that she does.

Gift of Gab: O-Town in the Hiz-ouse

Gift of Gab

Chali 2na

Hosted by Lyrics Born

The Independent

San Francisco, CA

November 7, 2009

Senior Rapping Correspondent Brian Griset

Gift of Gab (from O-Town’s Blackalicious) is one of my favorite emcees. What Gab lacks in dynamic stage-presence, he makes up in dazzling displays of tongue-twisting wordplay. He sandwiched his fun set with the songs "Alphabet Aerobics" and "Chemical Calisthenics," both featured intricate verbal flows that rapidly increased in speed as the song progressed. By the end, it was a blur of words. In between, Gab performed such crowd favorites as "Deception" and "Blazing Arrow" as well as tracks from his new sophomore solo album, Escape 2 Mars. The concert was the start of his tour to celebrate the new release. Gab later brought on Lyrics Born and Lateef, the third MC in Quannum's crew, to the stage for the night's second freestyle session which brought down the house.

Playing into the wee hours, was Charlie Stewart, professionally known as Chali 2na. A rapper and hip hop artist, formerly associated with the popular groups Jurassic 5 and Ozomatli. Chali played with a full awesome band. The strongest parts of his set were the heartfelt "Love's Gonna Getcha," a high energy romp through "Guns Up," and performances of J5 favorites "Freedom," "What's Golden," and "Quality Control," the later featuring the keyboardist singing a chorus of the other J5 (the Jackson Five's) "One More Chance."

A beat can make or break a song in other ways – if a rapper uses too many “old school” beats, they are bound to get criticized for it, and told to be more original. The key to making hip hop music work is to find a beat that truly makes the story and song both entertaining and original. This show was a perfect mix of old and new and thoroughly entertaining.

The Pogues: Traditional Irish Punk

The Pogues
Devotchka
The Warfield
San Francisco, CA
October 13, 2009

The Pogues: Traditional Irish Punk

Senior Irish Punk Correspondent: Brian Griset


In 1982, Shane MacGowan recruited some friends to explore a new type of music - traditional Irish music, mixed with elements of punk and thus the Pogues were formed. The Pogues have a very unique and easily identifiable sound, pairing traditional instruments like the tin whistle and mandolin with electric guitar. The music sounds ready-made for a night at an Irish pub; it’s no surprise that MacGowan, like a good Irish lad, has had drinking problems in the past. In fact, for a short period, MacGowan was replaced by the legendary Clash frontman, Joe Strummer. The Pogues helped recreate and reintroduce traditional Irish music with storytelling lyrics to a new generation. When the Pogues graced the Warfield in SF with a show, Shane and the crew proved they still got what it takes to entertain.

The current members of the band are Irish and English, proving music crosses all borders. Shane MacGowan is joined by James Fearnley, Spider Stacy, Jeremy 'Jem' Finer, Andrew Ranken, Phil Chevron, Terry Woods, and Darryl Hunt. The group had disbanded in 1996 but reconciled in 2001 and now tour periodically in the US.

Although MacGowan looked bored and unengaged during some of the songs, he and the boys played on…fun and goodwill overshadowed the kiss my ass (póg mo thóin) attitude for those of us in the dance pit which was replete with lots of foot-stomping, clapping and pogo dancing. When the band returned for its second encore, they played a double whammy of “Poor Paddy” and the crowd-pleaser, “Fiesta,” during which Spider Stacy repeatedly hammered himself over the head with a metal tray as percussive accompaniment. You're always in for surprises at a Pogues show.

One of my favorite bands, DeVotchKa, opened for the Pogues. Devotchka is an ensemble which fuses Romani, Greek, Slavic, Bolero and Mariachi with post punk and folk. Their name is derived from the Russian word for young girl or girlfriend. This is the second time that I have had the pleasure of hearing Devotchka.

Based in Denver, the quartet is made up of Nick Urata, who sings and plays guitar, bouzouki, piano, and trumpet; Tom Hagerman, who plays violin, accordion, and piano; Jeanie Schroder, who sings and plays sousaphone and double bass; and Shawn King, who plays percussion and trumpet. Together their sound is an aural spectacle and they are visually intriguing as well. Their sound stirs, captivates and is soulfully stimulating and visually their look is Elvis Costello goes to Russia.

In a recent interview Urata states, “I feel very privileged to connect with total strangers through music, it illuminates the idea that we are all connected and basically we are all in this together. If we can lift some spirits or stimulate some romantic activity, then our existence is briefly justifiable.”

The two bands were a great combination, both added punk elements to traditional music for a great effect, and the concert was great fun too!

Steely Dan: Aja

Steely Dan: Aja
Masonic Auditorium
San Francisco, CA
October 23, 2009

There is currently an absolute plethora of bands that have played or are currently playing "classic album" tours, performing an album from start to end, including Bruce Springsteen (Born to Run), Echo & the Bunnymen (Ocean Rain), Aerosmith (Toys in the Attic), Devo (We Are not Men, We are Devo), Van Morrison (Astral Weeks), the Pixies (Doolittle), Fleetwood Mac (Rumors), The Wailers (Exodus), even Roger Waters has recently toured playing the all-time classic by Pink Floyd, Dark Side of the Moon. The list goes on and on. It is no small coincidence that these tours are increasing in popularity just as albums are dying out as a vehicle for presenting and promoting songs. Artists are increasing moving towards releasing only one track at a time, most notably Radiohead, rather than the collections of songs that albums represent. In fact, less than half of all digital downloads at iTunes were in the form of albums. This is both good and bad: it is good because it prevents artists from padding albums with filler songs that should/will never see the inside of a pair of earbuds and it is bad because there is less chance of future works of art like Steely Dan's "Aja" which is definitely near the top of my list of desert island disks. It is hard to believe that albums this good, this intellectual, this sophisticated were once considered popular music.

Steely Dan is comprised of the duo of Walter Becker and Donald Fagen. They are both musical geniuses and were at the very top of their game when Aja was recorded and released in 1977. Aja is the perfect synthesis of cool New York sophistication and warm Los Angeles leisure, a lush amalgam of rock and jazz that actually works- not tinny jazz fusion with a rock beat or noodly rock with pointless Zappa-esque running of scales. It is a masterpiece of music recorded by the top studio musicians of the day in painstaking detail. If you have the chance, you need to catch Classic VH-1's Classic Albums series about the making of the album in order to get a glimpse into the intellect of Steely Dan. Steely Dan songs are well-known for being finely crafted, each note measured and weighed before being committed to tape and Aja is no exception.

From the opening base line of “Black Cow,” I knew this concert was going to be awesome. Rather than try to recreate the fine details of the studio masterpiece, Steely Dan opted for a looser, funkier version of the album. The songs are intimate and ironic portraits of drunks and losers who resolve to live life on their own terms. The songs are reaffirming. “Deacon Blues” contains one of the most debated lines in rock history, “They’ve got a name for the winners in the world/ I want a name when I lose/ they call Alabama the Crimson Tide/ Call me Deacon Blues.” To me, it is a statement of empowerment: even the losers can claim grandiose names and be exceptional in their own world. When they were done with Aja, the band turned up the heat by playing a list of fan favorites, including, Black Friday, Babylon Sisters, Bodhisattva, Hey 19, Showbiz Kids, and the classic Dirty Work.

Steely Dan is uncompromising in their vision of music and art. For me, their music represents something outside the mainstream. Their angular, often cryptic lyrics are like snatches of a celebration of life as participant and not viewer. It is the same feeling that I get when in New York City at night: there is a world of rich ideas and experiences to be had if you just follow your bliss.