A Supreme Songwriters' Experience!

a first account of the New York Songwriters' Circle

by Kristen Kozub

Last Thursday, July 24th, I had the opportunity to see the New York Songwriters' Circle in Philadelphia. Set at the surprisingly intimate World Cafe Live Upstairs, six up-and-coming singer-songwriters took their places on the stage to treat their audience to a collaborative night of song. Along with previously-featured artist Ian Axel (click here to read our feature), performers included Erin Sax Seymour, Bret Mosely, Erik Mitchell, Lili Anel, and John Conahan.

Each of the six performers arranged themselves on the stage as audience members quietly chitchatted with excitement for the evening's performance. Introduced by none other than Philadelphia native Lizanne Knott, the musicians seemed eager to share their music with each other and with the concertgoers.

Ian Axel, who performed first, blew audience members away with his fresh, classically-influenced instrumentals, and honest, clever lyrics. The 23-year old New Yorker played some of his newer tunes, one of which had never before been performed! Audience members seemed impressed by his natural musical ability and impressive instrumentals. Axel's vocals bear a striking resemblance to those of Ben Folds, and his compositional structure is similar to that of Keane. Fans of these bands, and similar music, will undoubtedly appreciate him.

ianaxel.com | myspace.com/ianaxel

Erin Sax Seymour kicked off her tour at the Circle, and her Alternative-Country flare was one that truly brought something unique to the stage. Seymour began writing as a way to deal with difficulties as a teenager, and her vast understanding of the world at such a young age is evident at first listen.

erinsaxseymour.com | myspace.com/erinsaxseymour

Texas-born Bret Mosely also delivered an excellent Americana performance, where he made his folk-rock roots and influences evident. His wisdom-rich lyrics definitely brought something special to the stage. His debut album, Light & Blood, has faired extremely well since its 2007 release. Mosely can be heard throughout the United States in the remainder of the year.

bretmosely.com

Erik Mitchell, whose witty poetry practically had the audience eating out of the palm of his hand, delivered a delightful performance as well. Unbelievably, Mitchell did not pick up a guitar until the age of twenty, and didn't write his first song until two years later. His funky twist on folk music definitely had audience members tapping their feet, and brought smiles to their faces.

mitchellmusic.com | myspace.com/mitchellmusic

Lili Anel brought her very own jazzy sound to the stage, and her Cuban twist was one that seemed to be well-received by her listeners. Her smooth, passionate melodies gave everyone in the room a chance to sit back and breathe, and she seemed to clearly enjoy performing in her native town of Philadelphia. Her music, especially, contained ties with many different styles, including reggae, fulk, funk, and jazz. Anel is sure to be a familiar face in the years to come.

lilianel.com | myspace.com/lilianel

As for John Conahan, his soulful sound is almost unheard of in artists of his generation, and seemed to be very much welcomed by listeners. It was clear that he loved to perform, and he passionately delivered his message. His finely-crafted melodies and soulfully-complex instrumentals, along with his great sense of humor, made him a pleasure to listen to.

johnconahan.com | myspace.com/johnconahan

Every artist involved in the event brought something uniquely theirs to the stage, and delighted the audience with equally excellent performances. It was very humbling and refreshing to see six of the most promising up-and-coming musicians all together for the same cause. It was great to see them feed off of, and appreciate, each other's sounds. Grammy winners Norah Jones and Vanessa Carlton got their start here, among others. It is amazing to think of what is to come for the fine musicians presented here. Whether it be for the refreshing lyrics, pleasant, soulful melodies, or the exposure to fine new music (not to mention an amazing eclectic venue with excellent food and drink), there is something for everyone at the Circle. Check them out monthly, in both Philadelphia and New York!!!!

songwriters-circle.com | myspace.com/thenewyorksongwriterscircle

A Supreme Songwriters' Experience!

FEATURED ARTIST 6/15/08- INGRID MICHAELSON

A First-hand Experience

Kristen Kozub

Early last summer, I was flipping through channels looking for something to watch, and nothing seemed to catch my interest. After about fifteen minutes of disinterested channel surfing, something stopped me dead in my tracks. On a local programming channel I had never even stumbled upon, I was captivated by a calypso-like drumline, a pleasant melody, and cute, witty lyrics—the sweet sounds of none other than Ingrid Michaelson. I didn't know it then, but I had just been introduced to someone who would quickly become one of my favorite musicians.  Anyone who knows me personally can attest to this.

What I was hearing was Michaelson's hit single, "The Way I Am," but in the days prior to the airwaves, Ingrid's face (and her music) were completely unfamiliar to me. I ravenously searched for her music and told everyone I knew about her. I instantly identified with her lyrics, as I'm sure almost anyone, particularly in my age group, would. They have an unbelievable innocence about them—one that seemed to fit my mood no matter what it was. Whether I just needed to sit and think, be distracted at work, or have a companion for long trips in the car, Ingrid's music was what I
would reach for. A year later, this remains true.

The best way I can think to describe her is a modern-day Joni Mitchell, but one with more innocence, and a gentler tone. There is something for everyone to relate to in her witty lyrics, whether it be the freshness and purity of "The Way I Am", childlike innocence of "The Hat", or heartbreaking fragility experienced in "Breakable".

On June 1, I was lucky enough to see Ingrid live, and my admiration for her more than tripled. The thing that was the biggest surprise for me was that not only were her lyrics witty, but she herself had the whole crowd laughing from start to finish. She seemed to know how to make the audience feel like they had known her for years, and she was doing nothing more than performing in their living room. She is on tour all summer, and if any of you get the chance to catch her, you will not be disappointed. It is impossible not to love the ukelele-strumming diva, whose fan base has grown at lightning speed. At age 28, she already has a lot under her belt, and most definitely has a bright future ahead.

Here is a tale of my concert experience:

It's a Sunday night on South Street in Philadelphia, and it's relatively quiet for an early summer evening, with the exception of the Theatre of the Living Arts, whose featured guest this evening is--you guessed it--none other than Ingrid Michaelson. Since she surfaced last summer, I have been a diehard fan, and although I was chomping at the bit for the performance, I had no idea just how fantastic it would be.

I had gone there expecting a show that was nothing short of stellar from the New York native, but what I wasn't expecting was to be laughing almost the entire time. I would highly recommend seeing her live, if only for the sole purpose of a good comedic musical performance. Her stage presence is unbelievable, leaving the crowd chuckling constantly, and leaving everyone feeling as if they have known her their whole lives.

As for the musical aspects of the performance, Michaelson's set included the hit "The Way I Am", and her newer single, "Breakable". She opened with "Die Alone", which seemed to wake the audience up, and appropriately announce her presence. One particular highlight was her performance of the upbeat single "The Hat", during which Ingrid proclaimed that she would be "unhappy and bitter" if anyone in the audience chose not to sing along. Fortunately, it was clear that neither performer nor audience was left in this state during this evening. Other song choices included "Overboard", "The Chain", "Keep Breathing", and "Giving Up", which many audience members recognized from the hit show Grey's Anatomy.

Not only did Michaelson's set list include favorites from both of her fantastic albums, Slow the Rain (2005), and Girls and Boys (2007), but impromptu performances of "Edelweiss," several television show themes, and even a few classical pieces, also graced our ears. Much to the delight of the audience, Ingrid broke into renditions of the Who's the Boss and Full House themes, along with a participatory Full House trivia game. Her sweet encore performance of "Somewhere Over the Rainbow" practically had everyone eating out of the palm of her hand.

What made this show particularly spectacular was the combination of Michaelson's soft vocals, unsurpassed innocence, and sense of humor. It was these elements, along with the occasional addition of her ukulele, that made the performance one that was undoubtedly human-- one you should make a point to see this summer. I left that venue feeling as if I had known her for years. Her love of performing was evident, as was her connection with her band, particularly "musical sister" Allie Moss, who was a wonderful addition to the ensemble. With voice colors similar to that of Ingrid's, she was the perfect complement.

The first opening act consisted of Philadelphia- born George Stanford, whose debut album Big Drop hit stores this past Tuesday. Stanford's vocals had a rough quality, but not in a negative sense. He was a pleasant opening to the evening, particularly with the song "Downriver", which had a especially interesting guitar accompaniment.

Following Stanford was the up and coming Greg Laswell, who will be touring with Ingrid for the entire run of her tour. His melancholy lyrics, gentle tone, and beautiful piano lines, make him someone worth scoping out. For a taste of Laswell's sound, check out the single "What a Day". Greg's debut album, How the Day Sounds, is available on Vanguard Records.

If you get a chance to catch Ingrid (and Greg) in the coming months, you will not be left disappointed. It was clear that Philadelphia is near and dear to her heart, as it was her first performance spot outside her hometown. 

Watch out for the possible "wedding tour" she spoke of, in which audience members will have to attend wearing tuxedos and ball gowns. It is amazing how much Ms. Michaelson's fan base has expanded, just in the last year alone, and she will surely be a face we see frequently in the coming months.

Ingrid Michaelson's MySpace: http://www.myspace.com/ingridmichaelson

FEATURED ARTIST 6/15/08- INGRID MICHAELSON

6/10- CLASSICAL DELIGHTS

a column by

Kristen Kozub

Susan Graham: Songs of Ned Rorem

Often times, when we think of composers who have contributed to the musical world, we think of names including-- but not limited to-- Bach, Beethoven, Debussy, Chopin, and Mozart. Although prolific, not one of these composers was American, or has lived in the last century.  In recent years, recognition for contemporary American composers has dwindled. With that said, allow me to bring to your attention the song stylings of American composer, Ned Rorem (1923 - ). For years, Rorem's gorgeous song settings have been incessantly praised.  Mezzo-soprano Susan Graham is added to the mix, resulting in the 2000 release of Songs of Ned Rorem, featuring Malcolm Martineau on piano and the Ensemble Oriol string quartet. This 32-track compilation is sure to be a delight for all who choose to give it a listen.

What is it, you ask, that make Rorem's compositions so distinctly beautiful? At the start of the first track, "Sonnet", the listener will understand why he receives the praise he does. Featuring the entire ensemble, this piece exhibits an unparalleled delicacy, and transports to a place of musical bliss. Of course, the compilation is only a taste of the hundreds of compositions that have graced the world over the last half a century or so, but the ones on this disc are undoubtedly an excellent representation. Much of the time, composers use the same compositional techniques, resulting in similar-sounding songs. While Rorem's work is distinctly his, each of the tracks has something specific that sets it apart from the others.

As far as the text is concerned, Rorem has chosen a group of lyric poetry whose themes seem to center on death, love, nature, and the passage of time. A good majority of the poets are American, but, interestingly enough, the chronological gap is quite large.  Rorem features poetry spanning from the Elizabethan era to Walt Whitman. His chosen texts (and his music, for that matter) are stunningly, sometimes startlingly, dazzling, and honest.

Upon first listen, it is quite obvious that Rorem draws much of his inspiration from setting. Having spent much of his life in both New York and Paris, these two places seem to recur frequently throughout his compositions. The third track, "Early in the Morning", is often hailed as Rorem's most famous work.  The text, by Robert Hillyer, paints a tourist's picture of Paris. Similarly, the twentieth track, "The Lordly Hudson", uses a backdrop of the majestic Hudson river.

Mr. Rorem could not have picked a better vessel for his work than the lovely Susan Graham. In recent years, Ms. Graham has become one of the most acclaimed and sought-after mezzo-sopranos of our time. Her milky, rich tone enhances the music in ways no one else's possibly could. As with many of her other works, she executes the songs beautifully, making them seem effortless. Even twenty or thirty tracks in, it is impossible to tire of her voice and what she brings to the music. Martineau and the chamber ensemble deliver a sparkling performance as well.  

Some listeners may find a few of the tracks on this disc rather abrupt, as some of them last only thirty seconds or less. Many times, however, their brevity is appropriate, and directly relative to the texts. 

Other highlights include a setting of Walt Whitman's "Look Down, Fair Moon", and Robert Frost's "Stopping by Woods on a Snowy Evening"; perhaps the most beautiful setting of it I have ever heard. In both pieces, Rorem establishes setting with excellent use of the piano. The unpredictable melodic lines are sure to leave the listeners with something different to sink their teeth into.

Rorem brings an unprecedented eloquence to the field; one that is sure to stand the test of time.  This compilation serves as a fantastic taste of Rorem's work, and an excellent example of a prolific contemporary American composer. If nothing else, consider it as a great way to brush up on British and American poetry. For something that will leave you enlightened and enchanted, I encourage you to seek out this collection.

Track Listings for Songs of Ned Rorem:

1. Sonnet [Bynner] 
2. Clouds [Goodman] 
3. Early In The Morning [Hillyer] 
4. The Serpent [Roethke] 
5. Now Sleeps The Crimson Petal [Tennyson] 
6. Opus 101 [Bynner] 
7. I Strolled Across An Open Field [Roethke] 
8. To A Young Girl [Yeats] 
9. Jeanie With The Light Brown Hair [after Foster]
10. Ode [de Ronsard]
11. For Poulenc [O'Hara] 
12. Littlle elegy [Wylie] 
13. Alleluia
14. Look Down, Fair Moon [Whitman] 
15. O You Whom I Often And Silently Come [Whitman] 
16. I Will Always Love You [O'Hara]
17. The Tulip Tree [Goodman]
18. The Wintry Mind [Bynner]
19. I Am Rose [Stein] 
20. The Lordly Hudson [Goodman] 
21. O Do Not Love Too Long [Goodman]
22. Far - Far - Away [Tennyson]
23. For Susan [Goodman] 
24. A Journey [Glaze] 
25. Sometimes With One I Love [Goodman]
26. Love [Lodge] 
27. Orchids [Roethke] 
28. Stopping By The Woods On A Snowy Evening [Frost] 
29. Do I Love You More Than A Day [Larson]
30. Ferry Me Across The Water [Rossetti] 
31. The Sowers [Bynner] 
32. That Shadow, My Likeness [Whitman] 

Here is a video featuring Susan Graham's recording of "Look Down, Fair Moon."

6/10- CLASSICAL DELIGHTS

5/31- CLASSICAL DELIGHTS

a column by 

Kristen Kozub

Eric Whitacre: Cloudburst

When first introduced to the works of American composer Eric Whitacre, it is hard to believe that the creator of such rich compositions and thick harmonic textures received no formal training until the age of eighteen. A mere twenty years later, Whitacre has become one of the most sought-after contemporary composers, by professional and amateur choirs alike. When listening to the most recent addition to his discography, entitled Cloudburst, it is not hard to understand why audiences adore his work, and are left aching for more. This recording has that same effect.

It opens with the majestic "I Thank You God for Most This Amazing Day," a setting of the E.E. Cummings poem. Whitacre seems to match the bold nature of the text with the music he chooses to complement it. The heavy layering of parts and frequent occurrences of what are affectionately known as "Whitacre chords" make this an appropriate introduction to the sound that is distinctly his.Another notable piece is the third track, entitled "Sleep," which has become one of Whitacre's signature and most famous works, and my personal favorite. Not only is the text exquisite, but the music is extraordinarily beautiful, and fitting for its text. The strong dissonances and lush harmonies allow the listeners to enter the dreamlike state that the character in the poem experiences. The piece eerily concludes after its climax with a fade out of the voices, as the poem suggests "surrendering" to sleep. What is interesting about this particular work is that the musical setting was written prior to the text. Whitacre originally intended to write a setting of Robert Frost's "Stopping By Woods on a Snowy Evening," but when the Frost estate forbade its publication until 2038, Whitacre enlisted his friend, Anthony Silvestri, to write an alternative text. Since the work's publication in 2000, it has become a favorite of choral directors and audiences throughout the United States.

The title track of the album, "Cloudburst," is perhaps the most artistic and adventurous work on the disc. With the colorful addition of piano and percussion, Whitacre creatively uses the choir to simulate a rainstorm, using wind chimes, thunder sheets, handbells, and body percussion. His energetic and innovative setting of a short poem by Octavio Paz is sure to surface frequently in the years to come.

The concluding track of the disc, "Lux Arumque," is yet another glorious setting of a seemingly simple text, which Whitacre chose to have translated into Latin. He does an excellent job of establishing setting in this one. The mysterious chords in the opening and the way Whitacre layers the voices make it an appropriate conclusion, ending in a way that should leave its audience at peace.

For this recording, Whitacre is joined by the collegiate choir Polyphony, conducted by Stephen Layton, and for the most part, they suit the album wonderfully. My only complaint would be that the soloists did not adequately perform the solos, and that there was not enough depth to them. My feeling is that the soprano was the strongest of the four, and that her voice fit the stylistics of the pieces the best.

Many people have criticized Whitacre for the fact that his pieces sound so similar. I, however, found something distinctly different about each one of the tracks on this disc. The poetry he uses is unbelievably honest and exquisite, and his music follows suit. Although many people believe Whitacre's texts to be heavily rooted in religion, they will find that it is actually quite the contrary. Whitacre has been quoted as saying that he chooses only the texts that he finds, simple, honest, and often quiet, allowing the audience to take what they want from it. Speaking from experience, his music is rangy and painstakingly difficult to learn, but penetrates the souls of its performers and listeners with the onset of the first chord. What is so lovely and different about this work is that, with the exception of the title track, the only instruments used are human voices. There is nothing more miraculous and magnificent. Regardless of whether or not you are a fan of choral music, this is a record that is a feast for the ears and should definitely be given a chance. It will undoubtedly leave its listeners humbled and awestruck.

Track Listings for Cloudburst:

1. i thank You God for most this amazing day (1999, TEXT: e.e. cummings)
2. I hide myself (1991, TEXT: Emily Dickinson)
3. Sleep (2000, TEXT: Charles Anthony Silvestri)
4. Go, lovely Rose (1991, TEXT: Edmund Waller)
5. When David Heard (1999, TEXT: II Samuel 18:33)
6. hope, faith, life, love (1999, TEXT: e.e. cummings)
7. Cloudburst (1993, TEXT: Octavio Paz)
8. With a lily in your hand (1991, TEXT: Federico Garcia Lorca
9. This Marriage (2004, TEXT: Jalal al-Din Rumi)
10. Water Night (1995, TEXT: Octavio Paz)
11. A Boy and a Girl (2002, TEXT: Octavio Paz)
12. Her sacred spirit soars (2002, TEXT: Charles Anthony Silvestri)
13. Lux aurumque (2000, TEXT: Edward Esch/Charles Anthony Silvestri)

Check out his MySpace:  http://www.myspace.com/ericwhitacre

Here is a slideshow to "Sleep":

5/31- CLASSICAL DELIGHTS