In the Still of the Night: The Music of Cole Porter. Calabria Foti, vocals; Michael Patterson, piano; Eddie Daniels, clarinet; Gene Bertoncini, guitar; Richard Locker, cello; Bob McChesney, trombone; Ike Sturm, bass; Jared Schonig, drums. C. Porter: Just One of Those Things, Miss Otis Regrets, Anything Goes, What Is This Thing Called Love?, Night and Day, I Concentrate on You, Every Time We Say Goodbye, Get Out of Town, It’s All Right With Me, So In Love and In the Still of the Night. MoCo Records MOCO 23-05. Total time 49:00. Amazon and iTunes
In the Still of the Night, though billed as vocalist Calabria Foti’s album, is a feature for her produced and arranged by the session’s pianist, Michael Patterson. Foti sings through eleven works by Cole Porter, backed throughout by a tight, hip rhythm section. Relief is provided with virtuosic wind solos by clarinetist Eddie Daniels and trombonist Bob McChesney (Foti’s husband), and the occasional intro or coda played by cellist Richard Locker.
The entire ensemble sustains tasteful musicality, cohesiveness, and sensuality throughout the recording. Foti’s melodic statements are true to the original melodies, with her embellishments being merely sonic (different amounts of breathiness) or microtonal inflection (scoops, falls, subtle vibrato): ornamentations and style rather than full-on improvisation or re-composition. This basic approach displays her beautiful, full sound. Likewise, the rhythm section plays so tightly that it is difficult to decipher, at most times, when the rhythm section is just blowing on chord slashes versus reading written and preplanned hits, figures, intros, interludes, and codas. Patterson’s brilliant voicings and touch on the piano often steal the show for me.
The entire album focuses on a soft-toned romantic mood, sometimes creating interpretations surprisingly different from how some of these tunes are often played. For example, Just One of Those Things and What Is This Thing Called Love? are usually played as up-tempo burners. However, 80 percent of this album is in either ballad or soft bossa nova style. A sensuality is provided by a breathy softness clearly celebrated by nearly all present – Calabria’s breathy singing, the sub tone of Daniels’ clarinet, and the masterful use of brushes by drummer Jared Schonig. Thankfully, there is some relief to this one-tracked mindedness. Daniels and McChesney’s solos are often the high point of energy for the selections they blow on, seeming like the only free agents of the recording date. Groove and dynamic wise, there are a few moments of medium swing, a few moments of a slightly louder dynamic, and a nice, deliberate three-against-four groove during the A sections of “So In Love.” Additionally, the use of cello adds a lovely, complimentary texture to the album. The album even ends with cello and piano alone. These touches of variety help relieve the listener from getting disinterested with the project.
For readers of The Clarinet, this album presents another opportunity to celebrate the great jazz clarinetist Eddie Daniels. His voice as an improviser is an interesting mix of vocabulary and mannerisms from earlier phases in his career (as evidenced in his recorded body of work)—the early, combative tenor sax style mixing the roar of Rollins, the density of Coltrane, and the soft moments of Getz; the virtuosic classical clarinet showcases; the fusion and smooth jazz tinged GRP era clarinet and Brecker-ish saxophone; the increasing frequency of Goodman repertoire interpretation and re-interpretation; and the recent obsession with softness—like with Ricardo Morales—especially with any ascension into clarion or altissimo registers. Staying true to the surroundings provided by the sidemen here, Daniels’ approach is on the soft side, in a similar vein to his Beautiful Love, balanced with a more aggressive articulation at times, like on his Swing Low, Sweet Clarinet album. He usually tongues every note in triplet lines and tongues every-second-note in sixteenth lines. His harmonic vocabulary is very careful and voice leading oriented here, with a few contemporary devices used (diminished scale vocabulary, a few quartal shapes, etc). His GRP side can be heard when he plays a finger swoop up into a high note with fast vibrato. His most clarinet-centric vocabulary is that which is shared by most classically-trained jazz clarinetists throughout the music’s history, making it difficult to say whether it’s an influence from the likes of Goodman, or a more universal influence from etudes, etc. These devices are mostly oscillations, or even calls and responses, between registers or the hands. For example, as often used by Goodman, repeating the same riff or melodic cell, changing the octave registration upon each sounding. The trills and staccatos he occasionally uses would be another example of a more clarinet-oriented approach. My favorite moment of Daniels’ clarinet, on this album, is his beautiful sub tone during his solo on So In Love.
Bob McChesney is the perfect match for Eddie Daniels. He could easily be seen as the “Eddie Daniels of the trombone.” They are both known for having brought technical and modernistic legitimacy to their instruments in post-bebop jazz circles: both instruments being too often typecast as belonging exclusively to the genres of dixieland and swing. On this album, they both bring much needed momentum to the songs when the listener starts to tire of hearing another ballad or bossa nova. They would make a great team and should do a collaboration of their own someday.
All in all, In the Still of the Night is a perfect album for a quiet evening in, or for slow dancing. No one on the album gets in the way of this mood and the album is a success in cohesive beauty. This is a beautiful showcase for all involved, and a new presentation of Cole Porter works worthy of attention and praise.
You might find this essay interesting. It is from George Rochberg’s The Aesthetics of Survival-A Composers View of Twentieth Century Music.
“A long time ago I wrote about what I called “moral presence”. Moral in the sense I mean it is the true, that which is incontrovertibly the hidden reality of all that is, the essence and suchness of things. Moral presence is hard won in modern art- though it is there before us in every flower, in every animal (the gentle and ferocious), in every tree and blade of grass. It literally saturates the universe. Human consciousness is too distracted to be aware of it. That’s why … The Buddihists speak of quieting the mind. Only by the effort of inner seeing and inner hearing does moral presence bloom into consciousness. It is almost impossible to discover in this age; though it is there in a Bartok and ocassionally flashes through a Schoenberg, but rarely-in fact almost never- in my contemporaries. They are too distracted with superfluities and superficialities. (1985)
Catching Light, a selection of new compositions for chamber group, is in post-production and will be released in the Spring of 2019.
The Los Angeles Percussion Quartet Premiers Patterson’s “A Joyous Noel ” at Dizzy’s Jazz club in La Jolla
Patterson’s “Two Prayers and Interlude for Flute , Cello and Piano” premiered at the First Congregational Church of La Jolla
Two concerts from 2018 concert series called ‘ the Depicted Vibrations’ organized by Chikako Iverson as a concert series called ‘ the Depicted Vibrations’.
The New Hollywood String Quartet plays Patterson String Quartet No. 1 and the music of Improvisatory Minds
The New Hollywood String Quartet performance, on 4/12/15 in Los Angeles, will feature the premier of Michael Patterson’s 2015 String Quartet No. 1, dedicated to Leonard Rosenman.
Of their debut concert, in January 2001, Los Angeles Times music critic Daniel Cariaga wrote “The four players produce music both beautiful and immaculate, technically impeccable and artistically well-considered”. Now entering its third season the New Hollywood String Quartet has not only garnered consistent praise from LA’s most read publication but has already acquired, through it’s remarkably active performance schedule, a core repertoire of over 20 works.
“Diversions for Charles Mingus”
The Depicted Vibrations is a new San Diego concert series that showcases exciting new compositions and performers. It is a unique and intimate chamber music experience.
The second concert, Volume 2, will be presented at 1:30 pm January 11, in the Sherwood Auditorium at the Museum of Contemporary Art San Diego (MCASD) in La Jolla. Google Map It will feature a trio of piano (Megumi Yonezawa, NYC), viola (Paivikki Nykter), flute (Chikako Iversen) in the first set, and flute (Iversen), viola (Nykter) and two double basses (Grant Clarkson and Ted Hughard) in the second set, followed by a special piece for Bass Trio produced by renowned San Diego bassist Mark Dresser.
The Depicted Vibrations, Volume 2, is also honored to feature premieres of two compositions by Grammy and Emmy award- winning composer Michael Patterson …including a composition for two basses, viola and flute, “Diversions”, dedicated to Charles Mingus.
Commission for the New Third-Stream Quartet’s performance at the World Saxophone Congress June 2015 Strasbourg, France
Five Scenes from Alphaville, for the New Third-Stream Quartet, is based on my musical impressions of the French 1965 science fiction film noir directed by Jean-Luc Godard. The music follows the events of the film. The “scenes” are characterizations, musical snapshots, and at times short essays, on the elaborate and multi- layered ideas and philosophies presented in the film.
“Through color sensation alone, virtually without the agency of shape we become absorbed into the experience of vision.”- Feldman
The statement above, made by E.Burke Feldman in reference to an abstract painting by Mark Rothko titled Earth and Green, could be analogous to the listeners aural experience when listening to Schoenberg’s “Summer Morning By A Lake”, (Farben), from The Five Pieces for Orchestra, op.16.
In the case of the Rothko painting the eye tends to go with sensation of intensely defined and undefined colors accompanied with blurred, burnished, lines of forgiving demarcation. In the Schoenberg composition the ear follows the subtle orchestral shifts in color handled masterfully by Schoenberg. His choices draw our ears to the colors. The colors open and breathe. They are both intense, and subtle. Defined and undefined. There is a perceivable rhythmic pulse supporting these subtle shifts in color. This rhythmic feature adds stability. The colors blend, separate, recombine and emerge anew. Klangfarbenmelodie in this sense can be perceived as being, aurally, similar to gradations of color that we notice in the Rothko. We become absorbed into the color and the sound. The subtlety intrigues and teases. And it is sustainable.
In composing a piece based on color we could approach it in many ways:
treat color as a process
create special timbral combinations
Are these all approaches to composing using color..
Where is the strength of melody..and how do you create contrast if everything is fused, is it not making something too amorphous, can there be unifying definition through orchestral color that takes on the role formerly reserved for melody
“Quality is acheiving or reaching for the highest standard as against being satisfied with the sloppy or fraudulent. It is honesty of purpose as against catering to cheap or sensational sentiment. it does not allow compromise with the second rate”.
This quote is from The Decline of Quality, by author Barbara W. Tuchman (from an article from NY Times Magazine, Nov.2,1980)
“The arts are not simply skills: Their concern is the intellectual, and spiritual maturity of human life…the arts have become the custodians of those values which most worthily define humanity…” Robert Shaw, conductor
I often reflect that discipline does not, in itself, change us. However I believe it can be said that it does provide a behavioral frame inside of which we can make critical and significant changes in our thoughts and ideas. If we are sensitive to, and act on, our best impulses. DIscipline=limits=clarity=focus on specifics=challange to create within a structure=ability to think in detail. And within a frame, or gestalt, through disciplied thought and action we can encourage or enable and watch the best ideas grow and take organic “qualities’ or properties.They become more multi-dimensional/ layered. They can become real ideas. Here is a quote from composer George Rochberg which adresses the issue of refining and distilling our thoughts and creative ideas -“grapple with the elements in a meaningful manner, then it,(the composition), will have force and spirit”. – Rochberg
More on Tempering the Work…
Composing at its best is a judicious blend of instinct and intellect. Emotion tempered with reason. A great work, I believe, is made out of a combination of obedience and liberty. Such a work satisfies the mind, together with that curious thing which is the artistic emotion. Stravinsky said,”if I were permitted everything, I would be lost in the abyss of liberty”. On the one hand he knew his limits, on the other he ceaselessly extended them. – Nadia Boulanger
And Then on Process…
“There are two modes of acquiring knowledge, namely by reasoning and experience. Reasoning draws a conclusion and makes us grant the conclusion, but does not make the conclusion certain, nor does it remove the doubt so that the mind may rest on the intuition of truth, unless the mind discovers it by the path of experience” Roger Bacon-1526-1626 English Philosopher
Perhaps the composers frame or sequence of creative thought, as he chases the elusive muse, could go something like this: Imagine, Reason, Calculate, Execute and Evaluate: repeat- buy coffee- repeat.