Jay Harvey Upstage

Based on a recital project that the violinist Jennifer Koh completed last year, "Limitless" gathers her duo performances with eight contemporary composers ( Cedille Records ). The result is both a tribute to a virtuoso's magnanimity and to the inexhaustible expressive possibilities of the solo violin. The two CDs cover immense territory of artistic perspectives and partnerships in sound. Koh has long had notable breadth in her repertoire, much of it generated from commissions and specialized projects. Growing up in a Korean-American family accustomed to poverty and mistreatment, the violinist in "Limitless" draws explicit acknowledgments from several of the composers of her resilience and the artistic value of surmounting prejudice and marginalization. In that vein, the most challenging piece for me was "Give Me Back My Fingerprints," a closely interwoven duo with vocalist Du Yun that features the composer's raw voice, plaintive and deliberatel

CD cover: Avital (from left), Jackson, and Goldberg The exclamation point in this piano trio's name carries a lot of weight. The assertion of the right to swing without  apology or compromise is basic to the ensemble concept that pianist Aaron Goldberg, bassist Omer Avital, and drummer Ali Jackson bring forward in "Groove du Jour" ( Jazz & People ). The French label has captured this forthright American piano trio in a host of originals plus a jazz favorite, Jackie McLean's "Dr. Jackle" and the Great American Songbook standard "I'll Be Seeing You." The trio's approach to that Sammy Cain and Irving Kahal song etches the group's profile indelibly: lots of underlining the groove, a bluesy cast to the melodic treatment, and the dominance of the drums. After a dreamy start, this "I'll Be Seeing You" wraps up the wistful feeling with a high-register bass solo, then becomes increasingly funky. Jackson lands on two and

The Colombian percussionist Samuel Torres brings to the delightful genre of the "little big band" (10 players, in Samuel Torres displays imagination from congas to ensemble. this case) a sensibility rooted in Latin rhythms and song forms and fully conversant with his desire to present jazz with a sunny face in "Alegria" (Blue Conga Music). The title means "joy," and Torres has the imagination and skill as both composer and bandleader not to allow the positive vibe to mean thin comfort food. There's plenty of sustenance on hand over the course of eight tunes. Torres resists the piling-on that's sometimes part of the Latin jazz genre. The pieces are assertive, with pungent soloing, but the gestures of invitation are consistent. Having sidemen of the expressive range of Marshall Gilkes, trombone; Joel Frahm, saxophones, and Luis Perdono, piano, certainly helps. The importance of dance in the popular culture of Latin America comes to the f

Dor Herskovits takes artistic breadth seriously. In the debut recording of his quintet, drummer Dor Herskovits has created a true album — to revive that nearly discarded description of what was once applied to 78s in bound paper sleeves in unified packages for our grandparents. The Israeli musician, now living in Boston, thinks of "Flying Elephants" ( Endectomorph Music ) as an integral artistic package, in which the music one hears connects essentially to poetry and artwork in the booklet. The 10 pieces the quintet plays aren't so much a suite, though, as signposts on what Herskovits conceives as an artistic journey. If you fly with his notions as well as his elephants, what results is a new concept of Wagner's Gesamtkunstwerk applied to original 21st-century jazz. For better or worse, "Flying Elephants" is an album. A totemic pachyderm from Herskovits' Facebook page. I found that the music led me to desirable mental places that the other ar

Ensemble Music president John Failey took note of the unusual placement of the society's second concert of the season Wednesday as he introduced the Dover Quartet to the audience at the Glick Indiana History Center . The Dover Quartet, shown here in a New York radio studio appearance Finding a date, he said, to bring to town this string quartet, based at Northwestern University, and the busy Israeli-born New York pianist Inon Barnatan meant the holiday-season scheduling of a program without a whiff of Christmastide about it. Inon Barnatan was crucial to an outstanding Shostakovich performance. No matter: Despite the minor mode signaled in the title, the piece bringing the five players onstage had the catchy tunes of the Scherzo and the Finale to buoy the spirits. Dmitri Shostakovich, who husbanded his cheerfulness carefully and sometimes wryly, sent the capacity crowd away happily via this stellar performance of the Piano Quintet in G minor, op. 57. Barnatan spark

Michelle Louer showed "Messiah" mastery in sophomore outing with the IBO. Last year's initial collaboration on Handel's "Messiah" between the Indianapolis Baroque Orchestra and the Beecher Singers of Second Presbyterian Church was so satisfying I just had to return for the deuxieme Sunday afternoon. It was well worth it. Buoyed by Second Presbyterian's fine acoustics, the 15-voice choir and the 18-piece orchestra (for the most part no larger than the body of singers, since timpani and two trumpets are sparingly used) worked seamlessly together, as they did in 2018. Director Michelle Louer's selection of soloists from the choir seemed even more inspired than it did last year. And there was plenty of mostly secure ornamentation in the solos, often with an apt flourish at slowed final cadences, starting with tenor Blake Beckemeyer's picturesque "rough places" in the oratorio's first aria. The performance enjoyed the contrib

Let me back into this review of "Winston's Big Day (A Very Phoenix Xmas 14)" by relaying a story about me that might honestly cast light on my perspective, which entered its second weekend Friday night at Phoenix Theatre. Years ago, when I was still on the staff of the Indianapolis Star, an editor and I conferred about an upcoming story. The subject of a personality piece was under discussion, and, to indicate the importance of the feature, my boss informed me: "He's really a rock star." I knew the description was intended as a figure of speech, because whoever we were discussing did not perform rock music for a living, as far as I knew. But my immediate response to the editor's description was probably stunned silence, because I was thinking: "Really?!  What did he do ?" With ample support, Winston (Dave Pelsue) morphs into the rock star of his dreams. Turns out the identifying phrase was meant to impress me positively, and the edit

Mezzo-soprano Mitzi Westra The American art song hangs on to a corner of high musical culture, and there are so many distinguished examples of it that you have to wonder what market forces keep its profile so faint across the land. An unusual example of a local composer providing a set of art-song showcases for a superb singer came our way Tuesday night at Butler University, when Mitzi Westra, assisted by Greg Martin at the piano, performed music of Frank Felice, a composer on the faculty and the mezzo-soprano's husband. The Eidson-Duckwall Recital Hall was nearly full for the program. I suspect that the gratifying attendance can be attributed not only to the strong reputations of performers and composer, but also to the excitement among many music-lovers at the prospect of a December concert with no connection to Christmas. Three song cycles and a setting of a Hildegard von Bingen antiphon made up the program,  representing Felice's work over a 30-year span. The ope

If you can imagine "A Very Bryan Chrystmas" as Santa Claus, you might find that what Clement Clarke Moore painted poetically for all time as a figure "chubby and plump, a right jolly old elf" has slimmed down and  become a little less jolly. Unlike the "Very Phoenix Xmas" series that filled our stockings a dozen times at the Phoenix Theatre under Bryan Fonseca's inspired direction, the adaptation of the format that the Fonseca Theatre Company opened Friday night renders the Santa spirit as a slender, slightly clumsy fellow who distributes his gifts less lavishly and not quite so merrily. "Last Minute Shoppers," a new work by Mark Harvey Levine, has the Magi making last-minute decisions With support for his multicultural ambitions in theater, Fonseca has brought himself up by his bootstraps to establish operations  on the city's west side, enlisting some outstanding, loyal talent to help realize his dreams after his departure from

The late Raymond Leppard, ISO music director from 1987 to 2001. I was visiting our son William and his wife, Areli, in Mexico when news came of the death of Raymond Leppard, conductor laureate of the Indianapolis Symphony Orchestra. Upon my return, I figured that a personal remembrance for this blog would be posted too late.  But yesterday I decided that perhaps a retrospective look focused on recordings of his in my collection might be appropriate. Maybe some of my readers have these, as well as others that I'm choosing to overlook in order to bring out succinctly aspects of the Leppard legacy I most admire. His learning was immense, but lightly worn. He was a man of strong opinions on music, and, to a journalist covering him, was ceaselessly quotable. He considered France an unmusical nation; he thought Charles Ives an incompetent composer. He maintained that the works for large orchestra by the likes of Richard Strauss, Anton Bruckner, and Gustav Mahler were inappropr

Giants in jazz have received due acknowledgment across the years, but it's worrisome too much evaluation of excellence in the music has focused on star-worship, or at least ceaselessly holding up individual contributions. That's all well and good, and I'm as much an advocate as anyone for knowing who calls the tunes, signals solos and return to the heads (where applicable), and who the sidemen are and what musical contexts they can successfully adapt to. But there's some danger in aping the pop focus on "icons" and casting in the shadow ensemble virtues that make groups with common, well-honed experience preferable to pick-up bands, no matter what expertise each component brings to the table. The Tucker Bros. put it all together in "Two Parts." The band's the thing, in other words. And in the way the Tucker Brothers' quartet coalesces in recordings or on the bandstand, we have a local object lesson, in 21st-century terms, in what make

The marquee composition on an Indianapolis Chamber Orchestra program waggishly titled "Czech Mates" was composed by a North German who settled in Vienna and looked eastward musically now and then. Marjorie Lange Hanna's  ICO tenure is as long as anyone's. Johannes Brahms' Concerto in A minor for Violin, Cello, and Orchestra has a Hungarian flavor in the finale, which puts it roughly in the neighborhood of the Czech homeland of Bohuslav Martinu and Leos Janacek, two other composers featured in the November 23 concert at Butler University's Schrott Center for the Arts . The remaining piece comes by its Czech associations through its nickname: W.A. Mozart's "Prague" Symphony (No. 38 in D major, K. 504). The nickname is authentic, unlike many such monikers, in that it was composed for its premiere in the Bohemian  city where the Austrian composer's later work was well received. Andres Cardenes, 1986 IVCI bronze medalist. For the so

Art Blakey said many good things, but among them was not "Music washes away the dust of everyday life." Yet a concert in centennial tribute to the drummer-bandleader Friday night at the Jazz Kitchen accomplished The Indianapolis Jazz Collective played an Art Blakey tribute show to a packed house. such a cleansing for me and the capacity audience, swelled by supporters of the sponsoring Indianapolis Jazz Foundation. The misattribution of the original thought of Berthold Auerbach, a 19th-century German writer, sometimes sticks "from the soul" in the middle of that quotation, as usually translated. Blakey would have endorsed the complete version, too, and the band led by Rob Dixon put substance behind it in a generously proportioned first set. (The Auerbach quote has great legs, having been attributed to Pablo Picasso as well — and even, thanks to appropriation of the writer's last name, to the immortal Boston Celtics coach Red Auerbach. Can't you jus

Jason Marsalis took care of business with his Goodman-inspired quartet. Explicitly moving forward and backward over time in his set list, Jason Marsalis played an illuminating program with his quartet Sunday night at t he Jazz Kitchen . The 42-year-old vibraphonist (also known as a drummer through such connections as the Marcus Roberts Trio, heard at Clowes Hall in 2015 ) immediately paid tribute to the Benny Goodman combo of sainted memory in taking the stage. Hallowed names of Goodman, Lionel Hampton, Teddy Wilson, and Gene Krupa were invoked to refurbish memory lane at the start. With Joe Goldberg on clarinet, Kris Tokarski on piano, and Gerald T. Watkins on drums, Marsalis resurrected "After You've Gone" and "Sweet Sue, Just You" flawlessly to open the show. Spiffy coordination, a wealth of improvisatory ideas, and flashiness linked to a heart-tug or two ruled the performances in the manner of the model quartet of the late 1930s. Using soft malle

Nemorino and Adina negotiate their way toward love, using Dulcamara's car as a prop. The definite article has been lopped off the English title in Indianapolis Opera's publicity for its production of Gaetano Donizetti's "L'Elisir d'Amore," but that's pretty much the extent of any damage to the amiable 1832 romantic farce that the company is offering to open its 2019-2020 season. The production of "The Elixir of Love" (sung in Italian, with surtitles in English) has one more performance at the Tarkington in Carmel's Center for the Performing Arts . There's some mild updating that allows for an outreach to the Indianapolis brand of motorsports: A vintage car comes onstage as the quack doctor Dulcamara makes his entrance, pushed by Indycar driver Zach Veatch, appearing in his opera debut and probably happy not to have a singing role. The sets and costuming looked cozy and idiomatic. The action now takes place in 1910, and the canny

Early in his tenure as music director of the Indianapolis Symphony Orchestra, Krzysztof Urbanski put his stamp on programming with the inclusion of music from his homeland, Poland — just as one of his predecessors, the late Raymond Leppard, included more English music than ISO patrons had been used to hearing. Mieczyslaw Weinberg (1919-1996) Now in the twilight of his time at the ISO's artistic helm, Urbanski this weekend sheds light on a little-known countryman who was a citizen of the Soviet Union for most of his life. Mieczyslaw Weinberg was previously known to me only by one work, his sixth string quartet, as performed by the Pacifica Quartet i n its series of Cedille recordings, "The Soviet Experience." Taking in the symphonic Weinberg at Hilbert Circle Theatre with previous knowledge of this particular string quartet revealed to me the signature style of an inviting musical mind. Symphony No. 3, op. 45, is a lavish, unexpected exemplar of the ISO's c

Environmental consciousness has been raised across the world in recent years, so it should come as no surprise that the relationship between human and natural health gives an extra layer of pertinence today to Richard Wagner's "Parsifal." Parsifal (Chris Lysack) regards the recovered sacred spear under eyes of Kundry (Renee Tatum). The space in which the action of the opera takes place is particularly germane to Indiana University Jacobs School of Music 's production of the work, which received its second of three performances Wednesday evening at the Musical Arts Center. S. Katy Tucker's set and projection designs brilliantly enhance the significance of the action and the primacy of a timeless arena for salvation. The quest to restore health to a community threatened by human weakness and the black magic of Klingsor retains its centrality, but the theme of restoration in the wider world also receives emphasis. In the last act, the approaching spring gradu

Richard Wagner was a child when Indiana University was founded in 1820, not a prodigy on the order of his The Flower Maidens work to get the attention of Parsifal (Chris Lysack) near contemporary Mendelssohn, and in fact requiring many years to secure his reputation as a musician to reckon with. The connection between his eventual eminence as a ground-breaking composer and the educational establishment's growth over two centuries runs through IU's history of mounting his last opera, "Parsifal," almost annually from 1949 to 1976. After 43 years of turning its attention to other operas, IU is observing its bicentennial with a new production of the work on the current season. It opened last Sunday, where it will be repeated Wednesday (when I will see it) and conclude Saturday night at the Musical Arts Center on the Bloomington campus. It is being directed by Chris Alexander, whose extensive credits in Germany preceded multiple engagements by the Seattle Opera