Thoughts On the Irish

I was hoping it was going to be an easier win for the Irish. But with Clausen hobbled and Armando not seeing a snap, we didn't do too bad at all. Hopefully it will be one of those character-builders. If we can get by Washington next week -- it will be tough -- and then make the most of the week off, we should head into the USC game healthy and confident.

Not Sure About Crocs . . .

I read that Mario was going to be at the Food Emporium on 59 and 1st this afternoon, signing copies of his new Grilling book as well as providing samples of some sauce is is licensing. So I took the bus down, as I had other errands to run, and walked in. There was no line, three clean-cut guys serving this penne and pasta, and Mario sitting at a table with his book and around four or five handlers milling in the back. There were more in the entourage than there to see him. So I tried the sauce -- pretty good, actually -- got the book, and had him sign the new one and Molto (which I had brought). He signed both with this nice, bright orange maker. He looked a little tired, shorter than I was expecting, but had a big smile on his face. Was completely friendly, we talked about his butter and sage sauce along with the new bottled arrabiata, and I was on my way.

Wondering if it ever got any busier . . .

(His feet were under the table. Never got to see his Clogs, or lack there of . . . )

Quick Irish Thoughts

I am feeling quite a bit of relief after yesterday's win against the Spartans of Michigan State. I was shocked to hear that the last time the Irish beat Michigan State in Notre Dame stadium was my freshman year of school. That was as streak that needed to end. Thankfully, it happened yesterday.

Sadly, though, it came with the loss of Michael "Pink" Floyd. I certainly think that the loss of Floyd will hurt them -- one of the best receivers in the country. But if Tate can hold on to a few more balls, and Clausen continues to use the tight end and the other young receivers, the offense should keep moving along. The line looks so much better than last year -- one sack in three games, and huge games for Allen. They just need to stop blatantly holding . . .

The D is another thing. I have no idea what Tenuta is doing up there in the booth, but he needs to change things around. Quickly. Purdue should be ok, but Washington will be quite tough, and the we have USC. Sure, they aren't putting up points, but they are still USC . . .

I have more confidence than after last week, but it is thin.

The moments all glow, frozen and free from time.

09.12.09
Trey Anastasio with the New York Philharmonic
Stern Auditorium / Perelman Stage, Carnegie Hall, New York, New York

Concert:
First Tube, The Inlaw Josie Wales@, Brian & Robert@, The Divided Sky, Water in the Sky@, Pebbles & Marbles*, Guyute (Orchestral)**

intermission

Time Turns Elastic, Let Me Lie@, You Enjoy Myself*

Encore:
If I Could@

Notes:
benefit for the New York Philharmonic and the Kristine Anastasio Manning Memorial Fund
@ Trey on acoustic guitar
* no lyrics
** complete, with "orchestral" My Friend My Friend beginning; no lyrics

I have enjoyed becoming reacquainted with Phish's music over these past six or seven months. I will admit that after Coventry (2004), Phish did not take up a substantial percentage of my play counts. Some reminiscing here or there, but even that was limited. But since Phish's return to the stage on Three-Six-Nine (and the four shows I have seen), I have enjoyed being reintroduced to their music. While that music may not have been as adventurous as in times past, there was a sense of rebirth or renewal. The songs were fresh and alive, the band was smiling and focused. Trey's performance Saturday night with the New York Philharmonic fits in to that arc perfectly.

Laura and I had seen Trey with an orchestra once before, as part of his closing of Bonnaroo 2004. While we were hundreds of yards back, sitting on stools in the mud, tired and drained, we actually quite enjoyed that set of music. There was something quite relaxing -- even fitting -- in hearing the Nashville Chamber Orchestra fill the air. The type of music and its softness made those who wanted to listen strain to catch the subtleties. You had to focus on what was being played. It was while rehearsing for this concert that I believe Trey met Don Hart, the eventual co-composer of Time Turns Elastic. Now, I had heard the Phish debut of Time Turns Elastic at Fenway. While I appreciated the song, it was not one of those on my list of "Wants" that I bring with me to every Phish show. If it was performed like Saturday's, though, with the Prelude, that would be a different story.

We arrived at Carnegie Hall on Saturday night with just a few minutes to spare. We had been north of the Bronx and were relying on the train to get us to Grand Central on time (it did). Thanks to a good friend, we were able to swap out our seats in the upper balcony with a box to the left. This was the first time either Laura or I had been in a private box at a concert hall, so that in and of itself was special (own doors, coat hooks, eight chairs all crammed in with varying heights). We reveled in the view. (I should admit that I was not as elated as I had hoped due to some unfortunate football results -- but as music often does, I quickly forgot the negative and was taken to a different place.)



As soon as we took our seats, I began to soak in the atmosphere. While not rowdy or disrespectful, there was an electricity that is absent from other performances I had seen in the Stern Auditorium. The crowd was comprised of all ages, people were dressed up and down -- suits and ties and ties with tie-dyes. Because I was busy looking around, I didn't take a moment to page through the program and notice that the "setlist" was published. Once I found that out, I tried hard not to look -- I wanted to be surprised like with a "normal" Phish show.

The lights went down and the symphony took the stage (roar), followed by the concert mistress (roar), and then Trey and conductor Asher Fisch walked out (deafening roar). Smiles all around -- including the members of the symphony. If they weren't convinced it was going to be a unique evening for all involved, I am sure they were by then. Normal Carnegie Hall etiquette was set aside (not completely dismissed, mind you, but slightly out of mind). The First Tube was a nice surprise. I had listened to Trey's performance with the Baltimore Symphony Orchestra from May 21st earlier last week, so I had heard an orchestral version. But nothing prepared for how well it would sound in person. Trey alone between the violins and the conductor, in his recognizable stance, dressed in a dark suit and suede boots. His playing was the quietest I had ever heard coming from his electric guitar -- maybe he was conscious of the possible clash between an amplified instrument and the orchestra. Or maybe just wanting to play below. Either way, it was tasteful, and made his solos that much more effective. The Inlaw Josie Wales and Brian & Robert were little gems of songs. Maybe not as unique as some of the others, just due to their simple nature, but it was still wonderful to hear Trey play his acoustic in such a precise manner. The Divided Sky was simply beautiful.



One of the highlights for me had to have been the Pebbles and Marbles. This song was meant to be played with an orchestra. And I particularly loved the extra bounce given to it by the horn section (an all-horn big band version would be perfect; Trey is friends with Maria Schneider, right). The Guyute was just about perfect as well, with the fitting My Friend My Friend opening, and then how the strings jump into the chase/jig section. A great way to close the first set. Intermission was filled with smiles, huge cheers, shaking of heads (and the smell of marijuana in the bathroom).

For the second, I especially enjoy Time Turns Elastic's Prelude, especially the last few moments before the "Phish" section; that has to be my favorite part of the composition, where it drops into that "bluesy" melody. Reminds me of Porgy & Bess. Since I was concentrating and more focused on this version, I also was made more aware of the lyrics focus on the changing seasons. The album cover and its streaming colors started to make sense to me. Joy was, well, a bit better in this setting. You Enjoy Myself, as to be expected, was the highlight. Just the anticipation of how it was going to be handled. How the trombones playfully recreated the "Boy, Man, God, Shit" section. Turning to Laura asking when the tramp would be brought out. Even the vocal jam at the end, sung by Trey on the lip of the stage in such a gentle manner. The If I Could encore was just icing on the cake, to watch Trey and Fisch take their deep bows; see Don Hart come out for this acknowledgment; the smiles on the orchestra's faces. A wonderful night of music all around.



Just want to conclude by saying the concert was particularly moving for Laura. In High School, she had actually played on that stage with her symphony. She understood the grandeur and history of that room, and what it means to play in Carnegie Hall. She was also privy to the rituals of an orchestra -- when the crowd gives a standing ovation, the full orchestra stands, the shaking of the hand with the concert mistress, when to clap and when not to clap. It was fun to whisper with her during each song, to see the joy and excitement in her eyes as "her" world meshed with "mine" in such a beautiful and seamless way. I am happy we were able to experience that together.

Thoughts On the Stillers

Well, the Stillers sure enjoy playing with their fans like a yo-yo, don't they? The game was typical Steelers football. Amazing at times, from both Ben and the defense, and infuriating at others -- no running game, heart attack-inducing Ben decisions, giving up big plays on D. They definitely need to get their running game going -- maybe Tennessee's defense is just that good? Happy to get out with a win, and it was surely entertaining . . .

Can't imagine Chicago is going to be easy.

Some Thoughts on Tom Robbins

A few months ago, Tom was kicking off a tour for his new "children's book for adults/adult's book for children," B is for Beer. Cute book, really easy read. I think it was pretty successful as a mix of who Robbins is with a conscious effort to make it suitable for kids. I was able to see him read from it and answer some questions at the Union Square Barnes & Noble's.

Along with B is for Beer, I have read four of his books. My favorite has to be Fierce Invalids Home from Hot Climates (love the nun), followed by Jitterbug Perfume (great characters, mixing Bacchus, immortality, beets, and perfume), Villa Ingognito (nods to Apocalypse Now and the circus) then Still Life with Woodpecker.

What I am attracted to in Robbins work is this willingness to reach into the absurd, mixed with his incredibly complex characters, humor, and sexuality. My favorite author has to be John Irving, who does a wonderful job with the complex characters, humor, and sexuality; Robbins tosses in a bit more of the absurd and takes it to some great places.

What became clear during the Q&A after the reading was that Robbins' philosophy in life is all-encompassing, and comes through quite clearly in works of fiction. He is able to wrap together his philosophizing, with his distrust of government and religion, capped off by hitting is over the head with characters who are as gray as gray can be. There is no black and white in his world -- just as there is not black and white in our world. We are complex beings.

One idea that stuck with me was his brief discussion of contemporary fiction. He said most works today are a focus on domestic issues, describing how the cookies are burning. But we already know that the cookies are burning. What he likes to do with his fiction and his doses of philosophy is hopefully offer some examples of how to turn off the oven. I liked that a lot.

Random Musings on Modern Music

This may be a bit difficult to follow as the context will not be apparent, but there has been some discussion a bulletin board about the music of jazz saxophonist Anthony Braxton. And what it means to be "good" music versus "bad." I just wanted to share some of my thoughts. I hope they make sense removed from the thread. Or, maybe, it fits with the modern jazz theme . . .


Well, I think you need to look at it on two levels. Appreciation, and Enjoyment. The assessment of Enjoyment comes easier. While there are certainly bands that I have grown to Enjoy years after first dismissal, I think it is safe to say that Enjoyment can come on first listen (and usually does). Something about the music is appealing to your ears and you want to keep listening. It gives you joy, or some other emotion that you want in your life (maybe that is sadness).

Now, Appreciation I think takes more knowledge. You need an understanding of how to write music, or play music, or what it takes to present what you are hearing. You may not Enjoy it, but the knowledge allows for Appreciation.

I have not been able to listen to the link that you have posted, but I can kind of guess what it may sound like from my knowledge of Braxton and how he writes, along with the fellow posters' descriptions. I am guessing it isn't something I will want to listen to on a regular basis, but if I am willing to put the time in, I may come to Appreciate it. But that doesn't mean I will like it, you know?

(The "Over one's head" description of art is a tough one for me. I went to school and studied to be a Classical architect. We learned about beauty and proportion, commodity, context. While I do Appreciate certain pieces of Modern art, whether that is painting, music, sculpture, it is usually when I am able to relate to a section and ignore what I may not "get." But when it moves towards the realm of a giant black canvas or what is essentially noise, I struggle a little bit . . . )

___

Sidenote: I believe it was on the recent PBS special about Oliver Sacks book, but some researcher went to some remote village that had never heard Western music -- at all. And he played pieces that were decidedly happy, sad, angry -- due to major/minor, a crescendo, etc. And he asked the indigenous people to identify the "tone" of the music by pointing to faces that represent (world-wide) emotion. And overwhelmingly they supported the "Western" interpretation to the music. Proving that there are inherent qualities in music that cause certain feelings, regardless of culture or an understanding. (Much like proportion, the Golden Section, etc.). If a piece of music lacks any triggers, it becomes harder, I think, to understand it and find ways to relate to it.