Sufjan Stevens joins Clogs at Merkin Concert Hall

Sufjan Stevens joins Clogs onstage at Merkin Concert Hall. (Copyright 2011, Steven P. Marsh)

The minute I settled into my seat at Merkin Concert Hall on Saturday night, March 12, it struck me that we’d be seeing Sufjan Stevens before the night was out. (Forgive me, I hadn’t checked Brooklyn Vegan before I went. If I had, this would have been much more than just a hunch!)

I wasn’t sure whether it would be as a member of the audience or the onstage ensemble — though I hoped for the latter. After all, the prolific Stevens has never been shy about sharing his talents with his friends. We’ve seen him hang quietly in the back of clubs like (Le) Poission Rouge, listening to the music of one of his musical idols, Steve Reich. And we’ve seen him take the stage with other friends before, including Clogs at the Bell House last March.

Shara Worden and Sufjan Stevens at Merkin Concert Hall. (Copyright 2011, Steven P. Marsh)

Sufjan did not disappoint us. He came, he played banjo and sang We Were Here, acting in his self-effacing way just any other hired musician. It was a wonderful moment and a delightful surprise. But I don’t want to sell Clogs short. The concert was delightful even before Sufjan arrived onstage.

Clogs put on a beautiful show as part of the excellent Ecstatic Music Festival. Wonderfully quirky vocalist Shara Worden, in an extremely colorful ensemble, joined Clogs to sing and play some guitar on several tunes from the latest Clogs album, The Creatures in the Garden of Lady Walton, on which she appears. The band also did some older tunes and a new song cycle, called Unattended Shadow, by the band’s violist, Padma Newsome. (Clogs’ lineup is rounded out by Rachael Elliott on bassoon and Thomas Kozumplik on percussion.)

(Sorry for the iffy photo quality, but Merkin is pretty strict about its no-photography policy.) Continue reading

People’s Commissioning Fund: Make your own music

Want to feel like a Medici or some other patron of the arts but don’t have the treasury to make it happen?

Everyone who gives — even just a few dollars — to Bang on a Can’s People’s Commissioning Fund is a minimogul responsible for the creation of a handful of musical works every year.

Commissioners, as Bang calls its donors to the PCF, get to hear the fruits of their efforts in concert in Manhattan on Thursday evening, Feb. 10. This year’s commissioned composers are Nick Brooke, hometown hero Bryce Dessner of the Brooklyn-based rock band The National and tabla-electronic-hip hop wizard Karsh Kale

This year’s concert is programmed as part of the Ecstatic Music Festival, a two-month cornucopia of music by like-minded composers and performers being presented at Merkin Concert Hall near Lincoln Center.

If you’ve already donated and have some free time at 5 p.m. on the day before the concert, you can see the musicians, and some or all of the composers, up close in a free dress rehearsal. You’ll even get the chance to ask questions and rub elbows with the artists and other commissioners at an informal reception afterward. Contact BoaC’s director of development, Tim Thomas, tim@bangonacan.org, for more info.

The Bang on a Can All-Stars, the house band, handles the playing duties for virtually all the commissions. They also be filling out the program with some other great music, including Steve Martland‘s Horses of Instruction, Convex/Concave/Concord by Danish minimalist Pelle Gudmundsen Holmgreen, and Believing by BoaC cofounder Julia Wolfe.

Here’s how BoaC cofounder David Lang describes the PCF process in a nutshell: “Over 14 years the People’s Commissioning Fund (PCF) is as liberating a force in music as we had imagined it would be. We are still pooling together the contributions large and small of hundreds of music lovers from around the world, adding penny to penny, combining lonesome individual gifts into awe inspiring communities of power and cold cash.  And then we give that money to bold, innovative, questioning, dedicated and highly inventive composers. We commission them, we rehearse their music intensively, we hold special events so that the members of the PCF can meet the musicians and composers that their generosity supports, and then we play that music in New York and often all around the world.  It is an amazing and beautiful thing.”

Beautiful, indeed. We here at Will You Miss Me When I’m Gone? have supported the PCF from the beginning. We couldn’t be more proud of what our pennies have helped create.

The details:

7:30 p.m., Thursday, Feb. 10. Bang on a Can 2011 People’s Commissioning Fund Concert, Merkin Concert Hall, 129 W. 67th St. (between Broadway and Amsterdam), Manhattan. $25.

Music of Julia Wolfe

Bang on a Can cofounders Julia Wolfe, David Lang and Michael Gordon. (Photo copyright 2010, Steven P. Marsh)

We’re a little overdue with sharing this, but better late than never:

Bang on a Can cofounder and composer Julia Wolfe gets the full attention on Miller Theatre’s Composer Portraits series on Thursday, Feb. 3.

The show features two New York premieres that demonstrate the depth and breadth of Julia’s work.

On the 80-minute program are Cruel Sister (2004), based on a grisly English tale of sibling rivalry, and Fuel (2007), a collaboration with filmmaker Bill Morrison that examines the impact of our dependence on the title subject.

“I’m thrilled the pieces are going to be done. They really haven’t been done together like this in the U.S.,” Julia says. “The intensity and the driving, relentless aspect of my writing is there in these pieces.”

You can hear more of Julia’s thoughts on the program in Miller Theatre’s video preview of the concert. You can read the complete program notes here.

Julia’s music will be performed by the incomparable New Music ensemble Signal, led by Brad Lubman, the concert will also include an onstage discussion with Julia and WNYC’s John Schaefer.

For more from Julia Wolfe, read her interview about this performance in The New York Times.

8 p.m., Thursday, Feb. 3. Miller Theatre at Columbia University, 116th St. & Broadway. http://www.millertheatre.com. $25. Tickets are available online or at the box office.

UPDATE: The Bock Family Benefit is SOLD OUT!!!

Remember our post about The World’s Most Literary Rent Party Ever (aka the Bock Family Benefit)? Well, it’s going to be an awesome party. It sold out in just days thanks to all who have read about this here at Will You Miss Me When I’m Gone? and all the places that have pitched in to get the word out!

If you didn’t get tickets, get yourself on the waiting list. Maybe you can score one at the last minute. And even if you can’t, please donate to the cause: helping the family of NYC novelist Charles Bock, author of Beautiful Children, whose wife, Diana Colbert, is battling leukemia.

Here’s what the organizers say about the waiting list. But don’t wait too long.

We are sold out, but there is a waiting list on the off-chance we get cancellations in advance. If you’d like to be put on the list, please email: most.lit.rent.party.ever@gmail.com.

Thanks, everyone, for buying, and we’ll see you soon. If you can’t come, but would still like to donate to the Bocks, please return to the homepage and go from there.

Help novelist Charles Bock and his family

Tickets for this star-studded benefit to assist acclaimed New York novelist are on sale. Buy yours now by clicking here

Charles Bock (Photo by Diana Colbert)

I met novelist Charles Bock when he was in the final stages of writing his first novel, “Beautiful Children.” We met while Charles was toiling anonymously as a day-rate writer. A 2008 New York Times Magazine cover story described it as  “a very unhappy stint as a rewrite man at a supermarket tabloid.”

However unhappy that time may have been — and there’s not doubt of that — there were some good moments too.

Many of us were rooting for Charles to succeed, to finish the novel and break out of tabloid hell. We were proud to see him get a book deal, and even more proud to read the extraordinary result of his 11 years of labor.

We came to realize that despite projecting a tattooed, tough-guy image, Charles is a warm, loving man with a great rock-and-roll spirit.

In on Dec. 11, December, 2008, less than a year after the novel was published, Charles and wife Diana Colbert had a lovely daughter, Lily.

In July 2009, Diana was diagnosed with acute myelogenous leukemia. By November 2009, she had a bone-marrow transplant. Diana was hopeful and positive in posts on her Facebook page. But a few months ago, the disease returned. Continue reading

More video of Stew, Heidi and The Negro Problem at Joe’s Pub

It’s time for a better taste of The Negro Problem‘s fantastic show at Joe’s Pub on Jan 7 .

Here’s all the video Will You Miss Me When I’m Gone? managed to shoot in the crowded room.

The first clip is just an excerpt, the last minute or so of one of my favorite Stew/TNP songs, “Peter Jennings,” performed with as much joy and excitement as I’ve ever seen.

After that is “Willow Song,” a Stew and Heidi number that many in the audience hadn’t heard before. It was written for last summer’s production of Othello for Shakespeare on the Sound, an outdoor community Shakespeare program in Connecticut. (Stew and Heidi tackle Shakespeare’s Much Ado About Nothing for SotS Artistic Director Joanna Settle this summer.) It’s a beautiful, dreamy number that worked well in the play, but also stands alone surprisingly well.

Finally, for all you Passing Strange fans, there’s “Amsterdam.”

Enjoy!

The Negro Problem at Joe’s Pub: Video

I promised video of The Negro Problem‘s fantastic show at Joe’s Pub on Jan 7 . Here’s the first one, with more to come as soon as the overworked staff at Will You Miss Me When I’m Gone? can find the time to process it.

This clip is just an excerpt, the last minute or so of one of my favorite Stew/TNP songs, “Peter Jennings,” performed with as much joy and excitement as I’ve ever seen.

Clips still to come are longer. But this will give you a good idea of the show’s energy.

The Negro Problem: Stew, Heidi and friends come home to Joe’s Pub

Stew, Heidi Rodewald and The Negro Problem at Joe's Pub on Friday, Jan. 7, 2011. (Photos copyright 2011, Steven P. Marsh)

Stew, Heidi Rodewald and their current incarnation of The Negro Problem came home to NYC — to Joe’s Pub at The Public Theater — on Jan. 7.

What a homecoming it was.  The show was rocking and well-paced, with old favorites — many reimagined in one way or another — and newer material from last fall’s Brooklyn Omnibus, a show premiered at the Brooklyn Academy of Music.

“Ken,” the never-fails-to-get-laughs tune about Barbie’s boyfriend Ken secretly being gay, was done with a reggae feel to it. And they did “Willow Song” from their music for last summer’s Shakespeare on the Sound production of Othello. They also did a great rendition of Stew’s self-proclaimed best song ever, “Gary Come Home,” written for TV’s SpongeBob SquarePants cartoon show.

The current incarnation of The Negro Problem, Stew and Heidi’s first project together, is really just the pair of them backed by Joe McGinty‘s Loser’s Lounge crew plus awesome longtime guitarist Jon Spurney. (Spurney wasn’t in the earliest incarnations of The Negro Problem, but then again, neither was Heidi. Spurn was, however, involved from the beginning with the material that eventually became the acclaimed musical, Passing Strange.)

The place was packed. The show was great. And it seemed to go by in a flash.

Will You Miss Me When I’m Gone? was thrilled to be there. We’ll shut up now so you can look at the photos. (Video will come later!)

Stew in his Utilikilt with a new approach to hairstyling, and Heidi at Joe's Pub.

Continue reading

Maybe we haven’t seen the last of The Last Town Chorus

It was a real shock to go through the Will You Miss Me When I’m Gone? photo library and discover that there’s not a single image socked away of one of our absolute favorite bands ever: The Last Town Chorus.

And since Megan Hickey, the awesome lap-steel guitar-playing heart and soul of TLTC, stopped gigging nearly two years ago, we had the feeling we might never get a chance to correct that omission.

A new single

Now there’s hope. On Christmas Eve, Megan finally released a new recording, the single “Keep Burnin’,” on iTunes. It seems to be a song she’s been working on since 2008. And it’s the first new track she’s released in that time. Her last new release was the single “Loud and Clear,” which she put out in 2008 as an”album version,” though the album clearly that hasn’t come together yet. (TLTC’s last album, “Wire Waltz,” came out way back in March 2007!)

The new tune is worth the wait. Her voice sounds a little different, more natural and a touch less dressed up than on her previous recordings. It’s a voice that’s as beautiful and clear as a bell as possible. She’s retained her amazing ability to bring tears to our eyes in the way few singers can. We’re looking forward to more track, soon!

So, with a new song out, can performing be far behind? WYMMWIG is eager to see and hear Megan play again. And other fans are eager too.

Even her guitars have been asking questions:

Megan divorced herself from New York City in a long, slow process. You could track it pretty clearly on her blog, The Last Town Chorus’ Travelogue. She started spending more and more (nontouring) time away from New York in early 2009. She started downsizing, selling equipment and finally gave up her record collection. That was a clear sign she was done, done, done with New York, at least for now, if not forever.

But Megan clearly did get the urge for going (as Tom Rush wrote), and so she finally did.

We should have seen it coming. We won’t get into her reasons. She’s told us some of them, and we’re sure there are many more. She can explain it herself if she wants to. The reasons don’t matter. What matters is that Megan seems to be finding her muse again. And our lives will be richer as a result.

We don’t know what’s next for Megan, and we haven’t yet asked. Chances are, Megan, who’s extraordinarily talented, beautiful and an all-around good person, will let us know soon.

Andy maybe we’ll get to fill that blank in our photo library.

In the meantime, we have “Keep Burnin’ ” to keep us going. Thanks, Megan.

TwoSense: Old guard piano meets new guard cello

Australian pianist Lisa Moore and American cellist Ashley Bathgate join forces as TwoSense.

We at Will You Miss Me When I’m Gone? can’t think of a better way to kick off the New Year than with New Music.

So we’ll be at (Le) Poisson Rouge in Manhattan on Tuesday night, Jan. 4, for the New York City debut of TwoSense. It’s a New Music Super Duo and commissioning powerhouse comprising Lisa Moore, the superb Australian pianist who was a longtime member of the Bang on a Can All-Stars, and Ashley Bathgate, the Saratoga Springs, N.Y., native who’s the All-Stars’ latest cellist. Oh, and in addition to playing their primary instruments, both women will sing. Lisa will also play melodica, while Ashley adds kick drum to the duo’s sound.

Ashley and Lisa are both passionate about New Music and are a joy to watch and hear.

Ashley Bathgate at (Le) Poisson Rouge in September, 2010. (Copyright 2010, Steven P. Marsh)

Here’s how they describe the mission of TwoSense:

TwoSense is a concert series and commissioning venture established by Ashley Bathgate and Lisa Moore presenting new, experimental commissions paired with mainstream works for cello and piano and guest artists. Both emerging and distinguished composers are writing works for TwoSense. The TwoSense mission seeks to ensure the inclusion of this music in the library of great chamber music. Please join us! PS – all the composers who are alive will be there!

And if the mere presence of Ashley and Lisa isn’t enough to persuade you to attend, check out the guest performers: Iva Bittová, voice/violin, Kelli Kathman, flute and Andy Akiho, steel pans.

Iva Bittová, Czech violinist, vocalist and composer, will join TwoSense at (Le) Poisson Rouge. (Copyright 2010, Steven P. Marsh)

And then, as TwoSense says, all the living composers on the program will be in attendance. That list includes: Akiho, Bittová, Stephen Feigenbaum, Paul Kerekes, Jerome Kitzke, and Kate Moore. They’re also performing music by Leos Janacek.

TwoSense. 6:30 p.m. (show at 7:30), Le Poisson Rouge, 158 Bleecker St., Manhattan. Tickets are $15 and available by clicking here, or call (212) 505-FISH (3474).