“At the Jazz-Band Ball,” c. 1936–39, by Fred Becker
color as time
This Friday, July 14, the Philadelphia Museum of Art is hosting the debut performance of my latest batch of sounds brought to life by a brand-new Stamper band! color as time is a nimble, nuanced, and soulful sextet comprised of some of Philadelphia’s finest – all good-looking folks with rapier wit and generous musicality.
Paul Arbogast – trombones
Bethany Brooks – piano, keyboards, sounds
Mike Cemprola – woodwinds
Christopher McDonald – piano, keyboards, sounds
Matt Scarano – drums
Moi – guitar, double bass, tunes
The music continues my fascination with the blur between classical, jazz, folk, and experimental textures. Plus, we’re constantly shifting instruments, so we’re the musical equivalent of a Rube Goldberg machine.
Join us! The band is sounding fine. Music begins at 5:45, and the concert is free with Museum admission. Screamin’ deal. Details here.
Libretto banner by Caroline Santa
Such Gift, All Thanks
Thank you, thank you to all good and fine folk who made the premiere of ‘mid the steep sky’s commotion the gift that it was. The space was amazing, The Crossing was phenomenal, Caroline Santa’s artwork was a quiet wonder, and the room was full of eager ears and generous hearts. What a thing to hear music that’s been privately buzzing in your head for months realized with such skill, care, heart, and devotion.
For those of you who weren’t able to be there, and for those of you who would like to experience the piece again, great news! We’re in the planning stages for a commercial recording of the piece; yes. Also, one of my very favorite filmmakers, Ben Stamper, is creating a film of the project; a cinematic tour-de-force representing both the piece and the process. Stay tuned…
A parting piece of neato news: just a few days after the premiere of ‘mid the steep sky’s commotion, the National Endowment for the Arts announced a $30,000 grant to The Crossing in support of The Month of Moderns 2017 (‘mid the steep sky’s commotion was the first installment of this three part festival). It’s grants like this, alongside the large-hearted support of our Hatchfund donors, that enable the creation and performance of new works by us living artists, exploring a broad range of contemporary issues – from displacement and homelessness, to zealotry, to the environment and our relationship to the earth. Thanks for the generous support, Country!