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he music is new, but it carries the of the world I grew up in—stylistically, work with the Kontraband, he also collabo- unmistakable flavor of the past. musically, socially.” rates with cellist Jakub Omsky in a duo Listening to Ljova and the At Juilliard, aiming for a career as an called Joint Custody, and plays with the Kontraband, the New York-based orchestral player, Zhurbin spent weekdays gypsy party band Romashka, led by his “chamber-jam”T ensemble, you can imagine immersed in classical repertoire; but on wife, singer Inna Barmash. He is a prolific yourself at the turn of the last century, weekends he joined up with a wedding band soundtrack composer who has written scores walking through Lublin with the music of made up of older Russian musicians, playing for features, documentaries and short sub- the cafes pouring out into the streets. the music of Eastern Europe and improvising jects. He also assisted Osvaldo Golijov on in gypsy style. “It was the score for Francis Ford Coppola’s Youth something that felt very Without Youth. The two composers found Kontra-Intuitive natural—the use of vio- plenty of common ground. “Osvaldo’s family lins, the use of flexible came to Argentina, but they’re former “You can’t escape who you are, and you formal structures, the spontaneous modu- Russian Jews,” Zhurbin says. “Same story— can’t escape the language you speak,” says lations and odd meters,” he says. “It was different continent.” Lev (“Ljova”) Zhurbin—the band’s com- messy, energetic fun.” As a performer, Zhurbin has left tradi- poser, violist, and leader. Zhurbin may have The Kontraband defies classification. tional classical music behind. “I’ve gone to the spent most of his life on the Upper West Its music is partly improvised and partly point of no return with my classical viola Side of New York City—he moved to the composed. It variously evokes klezmer, sound,” he admits. “It’s too folky to be nicely U.S. with his family at age 12—but he was gypsy music, tango and the sound of Astor blended in an orchestra.” He still relishes born in Moscow and his work is suffused Piazzolla. “I never wanted it to be a classical the classical repertory—but as a listener. “I with sounds associated with his ethnic band or a jazz band,” says Zhurbin. “It’s just went to Boris Godunov at the Met,” he relates. roots. “It’s not so much the Russian thing, an original music band that’s challenging “The viola sound was so gorgeous that it but the Eastern European Jewish thing,” and memorable and accessible.” makes you cry. But they already have it— Zhurbin says. “That’s still very much a part Zhurbin is a busy man. Aside from his they don’t need me to help them.” n ljova.com

KONTRABAND (l-to-r) Patrick Farrell (accordion), Mathias Kunzli (percussion), Inna Barmash (vocal), Ljova Zhurbin (viola), Mike Savino (bass & banjo)

10 November / December 2011 Toyin Spellman, of Imani Winds, coaches in a Beaches Fine Arts residency

eaches Fine Arts Series, in enough, the organization receives funds from Visiting artists typically perform outreach Jacksonville Beach, Florida, has a such traditional sources as corporate sponsors activities, like masterclasses and demon- four-decade history of present- and individual donors. But the biggest chunk of strations. And once a year, a visiting ensemble ing great concerts. Operating out its budget comes from an unusual source: will stay for a one-week residency in local Bof the stunningly modernist St. Paul’s by BFAS Racing—a series schools, targeting the Sea Episcopal Church, it offers eight of three triathlons, Title 1 schools in the concerts a year by leading musicians. The combined with a Free for All Jacksonville area. 2011–2012 roster includes, among others, duathlon and a kids’ Outreach programs the Ying Quartet, Paquito D’Rivera and the triathlon, held May and June each year. in recent years have included an American Brasil Duo, tenor Ian Bostridge and the BFAS enlists sponsors for these events, with Brass Quintet residency in which the five State Symphony Cappella of Russia. NPR’s the aim of having sponsorships cover the musicians split up to talk to individual Performance Today regularly features BSAF’s operating costs—leaving the entry fees to classrooms, then gathered to offer a concerts. fill the organizational coffers. 45-minute concert. Under BFAS’s auspices, But what makes the organization At the concerts themselves, the audience the Imani Winds have given recorder work- remarkable isn’t just the quality of its is seated on a first-come, first-served basis. shops, and the Marcus Roberts Trio has offerings, but that ever since its founding in BFAS does cordon off a section for patrons, demonstrated the connections between 1972, all of its concerts have been offered but even those seats are opened up 10 minutes music and math. absolutely free. “We really believe that before the music starts. Since no advance Wallis, a longtime volunteer, grabbed music, and art in general, celebrates our tickets are distributed, Wallis has no idea the reins of BFAS when its founder, James general humanity,” says Kathryn Wallis, how many people will show up for any given Johnson, retired in 1997. “He asked me if BFAS’s executive director. “Everybody should concert. “That used to scare me a lot,” she I’d be willing to take it over, and I said ‘No,’” be allowed to experience that, no matter says. “But now it doesn’t, because we have she says. “But it became obvious it needed what their economic circumstances are.” good crowds.” When the Vienna Boys’ Choir to happen. It’s definitely a challenge—but It takes a bit of financial wizardry to came to Jacksonville, the organizers had to I’ve enjoyed being involved with it.” n sustain a large-scale endeavor like BFAS turn away as many people as they let in. “It’s beachesfinearts.org without the benefit of ticket sales. Sure not a fun thing to do,” says Wallis.

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Explorers

t the outset, the Del Sol String Ring of Fire, featuring the work of composers Del Sol has performed hundreds of con- Quartet played the standard rep- from the Pacific Rim, including Zhou Long, certs in local schools and has initiated a ertoire. When the San Francisco- John Adams and Chinary Ung, whose Spiral series of vigorous educational outreach based ensemble launched in X: In Memoriam (for amplified string quartet) programs. In addition to four-day summer 1992,A its programs included Beethoven, calls for the musicians to sing as they play. workshops for string players, ages 8–18, Haydn and Schubert. “We just wanted to The quartet’s experimental bent has there’s Composing Together, a collabora- play quartets,” says Charlton Lee, Del Sol’s pushed it toward thought-provoking mul- tion with composer Katrina Wreede that violist and founder. But by 2000, the timedia projects. In Garden, an installation leads middle- and high-school kids through ensemble had come to a different consen- devised by composer/video artist Chris Jonas, a semester-long composition process. sus: they would devote themselves to the quartet stood in the middle of an art In 20/12, Del Sol’s upcoming 20th- exploring new music. “There seemed to be gallery, surrounded by a gauze “walls,” on anniversary project, the quartet will gradually so many more composers writing than ever which Jonas’s videos were screened. The unveil an astounding twelve commissions. before,” says Lee, “but so few groups play- 2008 dance project StringWreck, by chore- Among them will be a work by Gabriela ing the music of contemporary composers.” ographers Janice Garrett and Charles Lena Frank, composed for the quartet and Del Sol’s current repertoire includes Moulton, set the musicians moving among Chaskinakuy, a Bay Area ensemble that offers pieces by composers ranging from R. Murray the dancers. The project exposed a remark- traditional Andean music, and Mason Shafer to Philip Glass to Paquito D’Rivera. able discrepancy: the dancers, accustomed Bates’s Bagatelles for String Quartet and The quartet has started concerts with a mad, to working at a choreographer’s command, Electronica, commissioned with support deconstructed improvisation on Mozart’s were astonished to witness the democratic from CMA’s Classical Commissioning Program. Eine Kleine Nachtmusik. A themed program, workings of a chamber ensemble. “The “Our mission,” says Lee, “is to bring Latin Pulse, features works by Piazzolla, choreographers would have an idea, and contemporary music to audiences and let it Golijov and Tania León. Recent releases they’d do it,” Lee says. “If one of us had an be a normal part of life.” n delsolquartet.com include CDs dedicated to the works of Marc idea, we’d go into a quick huddle. The dancers Blitzstein and George Antheil, along with were like ‘Whoa! That’s weird!’”

DEL SOL QUARTET (l-to-r) Charlton Lee (viola), Kate Stenberg (violin), Kathryn Bates Williams (cello), Rick Shinozaki (violin)

12 November / December 2011 yra Melford knows exactly when her conversion happened. As a child, she had studied classical piano, but she stopped when she got to high school. Later,M at Evergreen State College in Olympia, WA, she studied environmental science while getting reacquainted with the piano by taking jazz lessons. Leroy Jenkins came to town, leading a trio featuring Amina Claudine Myers and Pheeroan akLaff, two of his colleagues from the American Association for the Advancement of Creative Music. “It was like a lightbulb going on,” Melford says. “I had no idea of what they were playing. But I thought ‘This is going to be my life.’ I didn’t really feel I had a choice.” The experience helped Melford formulate an artistic credo— one that has sustained throughout her career, now in its fourth decade. “I realized that I was an improviser at heart, and that I wanted to play my own music,” she says. “I started making music that felt intuitively right.” Diverse traditions have fed Melford’s music. There’s the blues and boogie-woogie she heard growing up in Chicago. Later, she studied African percussion and played in a gamelan ensemble. “Anything that inspired or moved me was fair game,” she says. In 2000, she went to Calcutta on a Fulbright scholarship for an eight- month residency, studying North Indian music. The trip was partly an outgrowth of Melford’s interest in yoga, but it also gave her a chance to master a second keyboard instrument, the harmonium. The music that Melford has composed for Be Bread, an electro- acoustic sextet that she formed soon after returning from India, reflects her studies there. Playing with the ensemble, she alternates between harmonium and piano. Guitarist Brandon Ross sometimes picks up the banjo—an instrument Melford uses because of its resemblance to the traditional Indian sarod. The band embodies what she calls a “chamber music model,” with all players contrib- uting to a collective improvisation. “We don’t have to say much in rehearsal,” she says. “I Lightbulb Moments know how to write for these guys.” At the University of California, Berkeley, teaching courses in contemporary jazz and improvisatory music, Melford takes her catholic approach into the classroom. Her students include musicians and composers from the realms of both new music and jazz. “I’m very fortunate to have been offered a position where I teach what I do,” she says. “I can bring what’s wonderful about improvisation in jazz to new music, and also turn jazzers on to new approaches.” Melford plays at jazz clubs and records for jazz labels; her music is inevitably called “jazz.” But she personally balks at the classification. “It’s important to brand your music—you need it to sell concert tickets,” she says. “But the whole label game is beyond me. I know what I do and what I like. It isn’t important what we label the music as long as we listen to it and talk intelligently about it.” n myramelford.com

Myra Melford

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Winds of Change hen Vento Chiaro played bers—clarinetist Benjamin Seltzer and Chiaro’s activities, the new members also Ligeti’s Six Bagatelles at bassoonist Ellen Barnum—left the Boston- had to be experienced, enthusiastic teachers. Tanglewood this summer, based ensemble to follow other pursuits. Through the Free for All Concert Fund, the the performance had a In the fall, Chi-Ju Juliet Lai and Alexandra ensemble brings outreach performances to Wspecial resonance. It was the first piece Berndt took their place, joining Campesino, venues all over the Boston metropolitan wind quintet had ever performed, back in Joanna Goldstein (flute) and Anne Howarth area. “We have a welcoming way of bringing 1997 at the Peabody Conservatory. Now the (horn). The new members have joined a group chamber music to people who have no work seemed familiar, but somehow new. marked by currents of mutual affection and exposure to it,” Campesino says. “It sounded so different to us now,” says the free exchange of ideas. “The most exciting This fall, Vento Chiaro acquired a per- Ana-Sofia Campesino, the group’s oboist. thing is when you have debates,” says manent berth for its teaching activities: a “We felt so well versed in the language Campesino. “There get to be these points residency at the Rivers School Conservatory that we could get into it more deeply, where you feel very strongly about the vision in Weston, MA. “Vento Chiaro is a huge part exploring new aspects and new colors. you have. These are the kinds of things that of my life,” Campesino says. “I love the freedom “We’re older and wiser,” says Campesino. Vento Chiaro does very well. There are a lot of expression and the license it provides. Now “Our ensemble has probably gotten tighter. of friendships in this group, and I think it I get to figure out how the make that happen But we’re still out there taking a lot of risks.” serves us well. We can take these opinions for other people.” n ventochiaro.org It was a fitting end to a chapter in the and criticisms in stride.” ensemble’s history. This summer two mem- Since outreach plays a big role in Vento

WINDS OF CHANGE Joanna Goldstein, Anne Howarth, Ana-Sofia Campesino, Alexandra Berndt, Chi-Ju Juliet Lai

14 November / December 2011 Saint Louis natives Hamiet Bluiett (l) and George Sams

Making Statements

consider myself a pioneer—and I’m not a slate of concerts Sams presented this past St. Louis native, offered a concert; he also “ even 64 years old,” says George Sams. spring, typifies his approach. The programs led a 40-piece local youth orchestra under As both a trumpeter and presenter, featured younger musicians who, in the first Nu-Art’s auspices. “I’ve known him since I Sams has devoted his life to cutting-edge half of a concert, would pay tribute to a jazz was 16 years old,” says Sams. “You have to Iimprovised music. Born in St. Louis, he great like Ornette Coleman, Herbie Hancock embrace those relationships.” moved to San Francisco as an adolescent. or Duke Ellington; in the second half, they’d In his commitment to musical exploration, During his Bay Area years, he cofounded head off into their own creative territory. Sams presents the kind of fare that is generally the quartet United Front, played in touring Sams is loath to categorize the music he heard nowhere else in St. Louis. “The Nu-Arts Broadway shows, taught instrumental presents. “‘Jazz,’ if you know the history of Series fills what would otherwise be a void,” music at a Palo Alto elementary school, and the word, used to mean black folks,” he says. says Dean Minderman, a local musician and eventually started a Jazz Masters program “It doesn’t mean anything anymore. I wish I founder of the blog St. Louis Jazz Notes. at New College of California. “It was all a could come up with something else, but I Minderman lauds the opportunities that Sams part of trying to diversify myself and make can’t call it ‘avant-garde’—that’s scary stuff! provides for local musicians: “He understands a living as a musician—not as a jazz It’s just a music series that features the ele- that musicians need to work and need to play musician, but as a musician,” Sams says. ments of jazz and creativity. in front of people.” Sams eventually returned to his home- “If you have something to show some- Neither the artists nor Sams himself, by town and in 1996, in collaboration with body, I’ll present it,” he says. “Don’t come in his own admission, will get rich off of their artist Giuseppe Pirone, founded the Nu-Art with a fake book to ‘All the Things You Are.’ Nu-Art’s activities. “I’m trying to allow the Series. In 2006 the partners opened the Don’t you have a theme, a statement that artists to be creative,” he says. “If it means they Metro­politan Gallery in midtown St. Louis you want to make?” don’t make a lot of money, so be it. I don’t to showcase the work of innovative visual Over the course of his career, Sams has want anyone cutting his ear off, but I’m a and musical artists. When programming rubbed elbows with any number of jazz purist: I believe in making a living doing what the concerts, Sams looks for fresh, original notables, and often has occasion to call on you want to do.” n thenu-artseries.org musical voices. “The Jazz Composer’s Series: them for favors. For instance, last spring, Re-Arrangements and Nu-Compositions,” baritone sax veteran Hamiet Bluiett, another

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Segues Mario Garcia Durham has been appointed Shauna Quill, executive director of Laura Rosenberg was recently appointed president and CEO of the Association of University of Chicago Presents, has left executive director of Earplay. She succeeds Performing Arts Presenters, succeeding the university to become the executive Aislinn Scofield, who is relocating to Sandra Gibson. Durham comes to APAP director of the New York Youth Symphony. Detroit. Rosenberg was founder, general from the National Endowment of the director and chorus director of the Hot Darrett Adkins succeeds Marcy Rosen Arts, where he was director of artist Springs Music Festival in Arkansas. as the cellist of the Lions Gate Trio, in communities and presenting. He is the residence at the Hartt School. Adkins has Angela Myles Beeching has been founder of Yerba Buena Arts & Events in performed widely as a soloist and recitalist appointed director of the Manhattan San Francisco. and teaches cello and chamber music at School of Music’s Center for Music Violinist Curtis Macomber has joined The Juilliard School, Oberlin Conservatory, Entrepreneurship. Beeching was previously the Manhattan String Quartet, succeeding and the Aspen Music Festival and School, director of the Career Services Center at founding member Eric Lewis. Formerly where he co-directs the string chamber New England Conservatory. first violinist of the New World String music program. Paul Brest will be retiring next summer Quartet and a founding member of the Peter Pastreich will retire as executive as president of the Hewlett Foundation. Apollo Piano Trio, Macomber is also a director of Philharmonia Baroque member of the Da Capo Chamber Players Jeffrey Harkins has been appointed execu- Orchestra, effective December 31. and the New York Chamber Soloists. He tive director of Wisconsin’s Green Lake serves on the chamber music faculty of Festival of Music, succeeding Jeanette The Juilliard School and the violin faculty Kreston, who has retired. For 16 years of Manhattan School of Music. Harkins served as executive director of Education for the Arts in Kalamazoo, Michigan.

In Memoriam Kenny Baker, bluegrass fiddler Keith Abbott Conant, violist; Eddie Marshall, drummer, kapelle, Kharkiv Philharmonic principal, Lyric Opera of Chicago; composer; co-founder, Holy Orchestra Louise Behrend, violinist; founding member, Rembrandt Mischief Ensemble, The Fourth faculty, The Juilliard School; Christopher Small, writer and Chamber Players Way; teacher, the Jazzschool founder, School for Strings musicologist Célia Cooke, co-founder, Paul Franke, tenor, Abba Bogin, pianist, conductor; Janet Putnam Soyer, classical Composers Collaborative Metropolitan Opera Mohawk Trail Concerts, and jazz harpist Bennington Chamber Music Edith Eisler, violinist, violist, Kurt Sanderling, conductor, Conference; Queens Symphony New World Symphony; teacher, Berlin State Opera, Moscow Orchestra, Tappan Zee Harlem School of the Arts, Radio Orchestra, Leningrad Chamber Players Turtle Bay Music School; Philharmonic, Berlin Symphony music journalist Orchestra, Dresden Staats-

16 November / December 2011 ENSEMBLE BUSINESS MEMBER PROFESSIONAL MUSICIAN The following entry Le Salon de Musiques, a Karen Bentley Pollick— contained out-of-date chamber music series in a longtime member of the information Below is the Los Angeles, was omitted Paul Dresher Ensemble— corrected listing. from the Directory. was incorrectly listed in Alabama. She is now active The Afro-Semitic Experience Le Salon De Musiques in Colorado. Founded 1998 Francois Chouchan David Chevan 1330 North Wetherly Dr. Karen Bentley Pollick Corrections info@afrosemitic Los Angeles, CA 90069 Violin, viola, Hardanger experience.net (310) 703-2126 fiddle P.O. Box 6183, [email protected] 6721 Brook Forest Dr. to the Whitneyville, CT 6517 Evergreen, Colorado 80439 (203) 287-5446 650-248-8975 Membership http://afrosemitic [email protected] experience.net www.kbentley.com Directory Self-managed

Erratum Qanun player Khalil Khoury (above), of Ramallah, Palestine, was misidentified in a photo caption for “Maqam Meets the Mainstream” (page 118, September/ October). We regret the error.

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