James Falzone at Chicago Cultural Center

Monday lunchtime I was at the Chicago Cultural Centre for James Falzone's solo concert "Sighs Too Deep For Words." 

I only managed to snap one picture before the battery died and it doesn't do the room justice. It's a very cool space that's suited to solo woodwinds.

Falzone doesn't rely on pyrotechnic displays of virtuosity to carry the concert (that's not to say he isn't a fine instrumentalist) but he always keeps the listener engaged. One way he does that is by providing plenty of sonic variety. Falzone spent most of his time on Bb Clarinet, but he also played Eb sopranino clarinet as well as bells, singing bowls, shurti box, launeddas (a reed instrument from Sardinia) and another (unidentified) wooden flute/whistle.

I thought it was a well constructed program. He could have easily stretched out "Sighs" for the entire set but instead played four works that offered plenty of variety yet managed to hang together pretty well. Steve Reich's "New York Counterpoint" was performed along with Falzone's recording of the work (it's a piece for multiple clarinets). And, in addition to the solo pieces, Bassist/Vocalist Katie Ernst joined in for two pieces - "There Is No Such Thing As Nostalgia" (inspired by the work of Archibald Motley - currently on show at the Cultural Center) and Duke Ellington's "Come Sunday."

It was my second time hearing Falzone play solo and it was a very nice way to spend a Monday lunchtime. If you have the chance to hear him play (solo or otherwise) - take it.

James Falzone at The Hideout

On Wednesday evening I was at The Hideout  for  Umbrella Music's "Immediate Sound Series" who were presenting clarinetist James Falzone.

The first set featured the solo work entitled "Sighs Too Deep For Words." Falzone combined clarinet, bells, shruti box and singing bowls for the 45 minute piece that ebbed and flowed between meditative and powerfully intense (with plenty in between). His clarinet tone is full of variety - whispers, growls, microtonal shadings,  very powerful high register and great use of dynamics.
During one section the shruti box functioned as a drone. Aside from that it was used sparingly - mostly a single chord to start or end a phrase/section (the chord remained the same throughout the set). At first I was a little disappointed he was playing through the P.A but it helped bring out the percussive key/finger sounds and it added positively to the overall sound. The live sound was good for the entire night (although they pushed my volume limits at times) and both sets were recorded.

For the second set Jason Adasiewicz (vibraphone) and Frank Rosaly (drums) joined Falzone (on Bb and Eb Clarinet) for the Trio's debut performance.  If I was to sum things up quickly I would say the vibes laid down a pad of sound over which the clarinet played melodies (lyrical, but not as you would expect) as the drums moved between time and texture playing. But that is selling things short. It was a very coherent set. There was a nice sense of form from the trio playing what I assume were two free improvisations. Things were paced well and the trio used a variety of density, textures and dynamics. If they decide to release the recording I will be keen to revisit it.

Ned Rothenberg Solo

Last week Ned Rothenberg was in town performing and recording with James Falzone's "Renga Ensemble" - thankfully there was time for a Saturday afternoon solo concert.
Performing on Clarinet, Alto Saxophone, and Shakuhachi the set at Corbett vs Dempsey flew by - one piece on each horn and an encore on clarinet. I have only recently started getting into his work in the last 6-7 months - via some of his solo albums. I really enjoyed his playing here and with the Renga Ensemble (in fact for me, he was the standout in the group).

For the sax nerds..... his alto has been modified (or retro-fitted, if you like) - it now has two octave mechanisms (like the original saxes had) allowing him to by-pass the auto opening and closing of the upper and lower vents. Without going into much detail he said it helps with some of the techniques he uses. For some reason I didn't ask who did the modification.