sexta-feira, maio 31
The Korenchendler interview will apparently be in the June number of 21st Century Music, not July, as previously noted. Future interviewees will include composers Robert Maggio and James Primosch.
quarta-feira, maio 29
This poem is for Meg, who wrote a really nice comment about Mostly Music in Cora's Blog... Thanks a million for the kind words, dear Meg!
I am the Wind
I AM the wind that wavers,
You are the certain land;
I am the shadow that passes
Over the sand.
I am the leaf that quivers,
You, the unshaken tree;
You are the stars that are steadfast,
I am the sea.
You are the light eternal--
Like a torch I shall die.
You are the surge of deep music,
I but a cry!
(1886 - ? )
terça-feira, maio 28
What a serious flutist does in her spare time
This weekend was shopping-folly weekend. So nice! I had 3 clear objectives in mind, when I left home for the hunt:
1- A key holder. Not for my keys, really, but to hang my wrist-watches on. I have a few watches, colorful and fun. But I always end up using the one on my dresser, because I just never know where the other ones are, or they are too hidden, far away, in my drawer. OK, you men, wipe that sarcastic smile from your faces. Any woman will know what I am talking about.
2- A glass "hat" for my side table abat-jour, which broke months ago.
3- A dispenser for scotch-tape.
As a result of the hunt, I brought home the best of spoils. Yes, I did buy the "hat" for the lamp, and the tape-dispenser (small and red, of course). But I also bought some delicious knick-knacks: a fabulous old mirror for my bedroom; a wooden tray for my ceramic fruits; a delicate Orrefors vase, etched with flowers;
and last but not least, a hand painted... ostrich egg! The appex of trinkets, the "cum-laude" of decorative objects, the platonic idea of a "thing" serving no purpose whatsoever. Pure glory! It depicts the sunset in an African plain, red skies, the silhouette of giraffes and elefants in the forefront. Beautiful!
Ah, I also bought a nice, old fashioned skirt (very hippie looking) in my favorite teenage store, Cantão.
As to the key-holder, I could find none that I really liked. So I stole the one in my mother's living room.
A delightful weekend!
Sometimes critics are sooo mean
This CD is not bad.
Heavens, what a terrible opening line! Let me try again: this CD is not devoid of qualities. Not much better, is it? But I am just trying to be honest, without being unfair.
Well, maybe I should start by saying that if my criticism sounds too harsh, it is probably because Ms. Ross faces extremely tough competition.
Her playing is correct, technically clean, with satisfactory intonation. Her sound is quite beautiful. So what is wrong, then?
From the very first track one is struck by an almost stifling stillness. Not the stillness born of the missed heartbeat, of suspended breathing, of the fear of breaking the magic. No, it is rather a lack of impulse, a regularity of rhythm and inflection that weights the music down. Part of this feeling is due to the unchanging articulations (very polite, with no rough edges) and overall even dynamics. This homogeneity of sound ends up by blurring the distinction between ornament and structure, transforming long-winded phrases into fragmented sequences of notes. But the problem goes beyond that. The squareness somehow spills over to the emotional scope of the interpretations. There is no amplitude of gesture here, no daring or drama.
The Largo of BWV 1017, for example, one of Bach’s most heart wrenching moments, goes by at a brisk pace, almost allegro. A fitting background music for a day in the shopping center. The harpsichord accompaniment does not help dispel the impression; it is equally non-plussed and well behaved, with little depth of perspective. One misses the solemn approach of S. Kuijken (notwithstanding Gustav Leonhardt’s metallic-sounding harpsichord), the vital energy of Rachel Podger (reviewed in Fanfare, n.5, pg.136), or even the almost sentimental phrasing of Emlyn Ngai (reviewed in Fanfare, n.).
Some may consider the constant legato, the lack of forward drive and dynamic contrast, the emotional restraint a quality, a sign of serenity, control and balance. To me, it is deeply disturbing. If there is one field of art where Mies van der Rohe motto “Less is more” does not apply, it must be that of music performance. As in the present recording, unfortunately, less is less.
BACH Violin sonatas: in E, BWV 1016; in F, BWV 1022 (arr. Unknown); in c, BWV 1017; in g, BWV 1020 (also attributed to C. P. E. Bach); in A, BWV 1015. Jacqueline Ross (vn); David Ponsford (hpd). ASV 228 (70:12)
Fanfare, March/April 2002
quinta-feira, maio 23
Just finished the brief novel of that name by Binnie Kirshenbaum about a neurotic NYC Jewish poet named Lila. Some good one-liners, but not compelling. It's already available in German translation (perhaps because Lila's ex is a German named Max?) I will still give her other books a look.
To hear songs by the Beatles transformed into Gregorian chant, go here.
I have been translating abstracts of articles from the German. These paragraphs boil down the essence of a five to twenty page article, and it's interesting to see what is worth stating in a German cultural context. For example, the following:
The social value of freedom plays too small a role in school. Just in school? or in Germany?
Or from an article on Satie and music education,
Calmness, humor, and the capability to question one’s own standpoint can enrich the pedagogical discourse. Since this seems to be a new discovery for Germany, one can assume that the standard for the German teacher and classroom is rage/anger,
no sense of humor, and the desire to assert one's own point of view at all costs. Right?
terça-feira, maio 21
About a boy
Just back from the Hamilton cinemaplex where I saw "About a Boy" with Hugh Grant and a cast that was otherwise unknown to me (including the very attractive Rachel Weisz ).
A faithful rendering of the Nick Hornby novel - very wry.
Can there be anything more pathetic than a German Missa profana for quartet of soloists, Dixieland jazzband, electronic noises, oratorio-choir and orchestra?
segunda-feira, maio 20
Where I live
We live in an antirelational, vulnerability-despising culture, one that not only fails to nurture the skills of connection but actively fears them.
ABC News reports that the US govt. is now planning mass lie-detector tests for the personnel at its own biological warfare center (Fort Detrick) to find some suspect, any suspect in the anthrax terror of last fall. President Bush should go on television and tell US citizens that the likely culprit for this instance of mass terror is a government employee.
domingo, maio 19
Just back from a cultural excursion to New York City. After spending the morning practicing i walked over to the station and took the train to the City. Then i took the C train up the West Side to 81st St. and walked through the Park (stopping at the Belvedere Castle
, which I had never seen before) to the Metropolitan Museum, the first time I had been there for some years. Each time it gets bigger, so much so that you might think that soon all the world's art will be there. However i can safely say that i saw not one bit of art from Brazil during my two hours in the museum. I enjoyed visiting the Egyptian art (I love the Fayum funerary paintings - makes me want to live 2000 years ago in Egypt), saw some of the Far East galleries (no what what museum one is in these are always deserted and quiet), visited the Musical Instrument collection (not enough flutes.....), then walked briskly to the Modern Art section (new since my last visit). After that I had had enough (oh by the way I saw a wonderful huge work in watercolor by Graham Nickson - I will see if I can
find some images of his work on the web), so I walked out to the park, and enjoyed people-watching.
A middle-aged insane black woman told me that I was dead, had "stuff coming out of my face". I asked her if she was dead as well, and she said no, that she was God. It was a nice sunny day, but a little too cold. Then I proceeded to walk down Broadway to Times Sq. and then home via NJT. More later.
sábado, maio 18
While Tom was seeing Star Wars in Princeton, here in Rio we went to see Le Placard (The Closet) with Daniel Auteuil and Gerard Depardieu. A fabulous little film, with a witty script, marvelous acting, and a first-rate director. Very funny, but still makes one think. I also love the fact that the actors are all normal people, just like you and me. No Tom Cruise, Mel Gibson, Sharon Stone...Ah, and the final touch (for Cora): two of the cutest cats ever depicted on screen.
sexta-feira, maio 17
As we see the Chancellor of the Republic in Star Wars (secretly Darth Sidious, master of the Dark Side of the Force) fomenting war in order to be granted emergency powers on the way to becoming Emperor, it makes you wonder about our own little Evil Empire here at home...doesn't it?
Last night I went to the most recent installment of the Star Wars serial with my children and my ex-, political scientist and human rights activist and Star Wars aficionado Sarah Milburn. We went to the 7 pm show at the theater in downtown Princeton, and surprisingly enough it was no where near full (I suppose it's too low brow for those refined environs). High marks for the visuals, average for the plot, dialogue not so good, acting fine in places (Obi-Wan, Count Dooku - played by Christopher Lee), not so good elsewhere (Senator Amidala, remarkably flat, so much so that the audience laughed at one point). Cliched
view of libraries and librarians (I suppose it reflects the whole 1940s gestalt of the movie). Visuals cribbed from Blade Runner
at the beginning. Fun, nevertheless.
sexta-feira, maio 10
I played the Four Things by the maestro on Wednesday night with Swain (along with much other Brazilian music - Pattapio, Francisco Braga, Oswaldo Lacerda (the very northeastern Toccata for flute and piano - difficult, but very nice)), and this morning I am reading and translating what the maestro Guerreiro (the very first thing we did was to play his new piece for us, a seresta and frevo - wonderful) has to say about G-P. It makes me want to produce an edition of the letters.
How to make a bigger market for Brazilian music in the US?
My favorite part so far ---G-P goes to Recife a convinced serialist and after less than six months of Brazilian rhythms he
declares himself a "dodecafonista fodido" (a fucked twelve-toner).
quarta-feira, maio 8
This is the third release for Anthonello, named for Anthonello da Caserta (an early fifteenth-century composer – it’s not quite why such an obscurity from the late middle ages is the standard bearer for an ensemble focused on the early baroque). Details on their first can be found at http://www.asahi-net.or.jp/~kh4h-okmt/anthonello.html, and the group also issued a disc on Bis in 2001 (Bis CD-1166, a collection of Frescobaldi). Japan has not widely been known until now for its activities in early music, though individual performers have gained fame in Europe. Perhaps this disc is evidence that things are changing. Symphonia’s booklet does nothing to enlighten those who might be curious about the garden that produced such a flower, as there is not a jot or tittle of biography for the performers. More’s the pity, for this is a very attractive disc, beginning with the design (lovely arabesques inside the covers). The program is loosely structured around a half-dozen ciacconas from the first half of the 1600’s, interspersed with graver contemporary works. Leader Hamada has gathered a strong company, with captivating solo work from all of the instrumentalists. Midori Suzuki’s singing is very fine, with excellent control over a lovely bright voice, and yet it strikes me that her music-making could be better still, could she find a certain sprezzatura, a freedom and passion in the declamation of the Italian poetry. The recorded sound is clear and present. All in all, a strong disc, and I hope that it presages more such to follow.
CIACCONA – LA GIOIA DELLA MUSIC NELL’ITALIA DEL ‘600. Anthonello (Yoshimichi Hamada, director, cornetto, recorder; Midori Suzuki, soprrano; Kaori Ishikawa, viola da gamba; Marie Nishiyama, harpsichord, double harp; Rafael Bonavita, baroque guitar, theorbo; Junichi Furuhashi, recorder; Itsuko Noto, organ). SYMPHONIA SY 01187 (64:20)
MERULA, FRESCOBALDI, SELMA Y SALAVERDE, ROSSI, BARTOLOTTI, D’INDIA, FERRARI, STORACE, FALCONIERI, KAPSBERGER.
In reviewing Steger’s earlier discs for Claves for another publication I noted his absolute ease and facility with the instrument. This technical mastery has its positive and negative sides. On the plus side, Steger has the chops to do whatever he sets out to do. On the minus side, chops plus notes does not always equal music-making – taste and discernment have a part to play as well. Steger’s spirit seems to be particularly attuned to the quicksilver, the virtuoso gesture; to play on national stereotypes, to lean toward the sprezzatura of the Italian, rather than the politesse of the French. He is particularly effective in the music of the seventeenth century, with its wild fantasy, and less so in the innately more conservative music of the eighteenth century. Telemann was a chameleon, taking on national traits with ease, but fundamentally his music relies less on flash than on melodic sophistication for its effect. Hence his fondness for the French style throughout his oeuvre, and especially so in the chamber music of the late twenties and thirties.
Repeatedly in listening to Steger in these works I had the sense that the music was just too fast to make its proper effect. Yes, it is exhilarating to be able to play that fast; but really, this is not what it is about. Telemann is not an impetuous youth, but a mature man of refined taste. For example of how suave this music can be, listen (for example) to Sébastien Marq in his similar set for Astrée (E 8554).
TELEMANN Solos and Trio Sonatas for Recorder. Maurice Steger, recorder; Naoki Kitaya, harpsichord; Hanna Weinmeister, violin; Rainer Zipperling, cello, viola da gamba; Brian Feehan, theorbo; Käthi Gohl, cello; Markus Märkl, harpsichord. CLAVES CD 50-2112
Francesco Barsanti is one of those lesser masters of the late Italian Baroque beloved of recorderists (others include Veracini, Bigaglia, Bitti), having left a single collection of moderately attractive sonatas for the instrument, published in 1724. Barsanti was typical of professional wind-players of the age in mastering most of the treble winds (recorder, flute, oboe), and the fact that his second collection of sonatas (1728) was for the transverse flute shows that the fashion for the recorder was already on the wane, even in England, where it had a notable popularity among amateurs (it is worth noting that four sonatas from the set were republished in England almost sixty years later, which says something about English taste). Barsanti’s sonatas are conservative in style, with no trace of modish French dances or recent Italian galanterie (he had arrived in London in 1714, and so may have been out of touch with developments in the peninsula). The sonatas are pleasant enough, and matched to his market, with moderate technical demands.
Carlo Ipata’s recording from 1996 (his first) demonstrates technical mastery and a limpid tone (though I don’t always agree with the intonation he draws from his Bressan model flute by Luca Barton – to my ears he could be more fastidious in bending the instrument’s pitches to his will). The accompaniments by his colleagues are sensitive and fluent; I was especially taken by the playing of Nastrucci in partnering the largo from the C major sonata. This is the first recording of the set, and may well be the only one for a while. The works are attractive, if not essential. The flute is quite close, and the blend is good. Not for every collection, but worth having for the specialist.
BARSANTI VI Sonate op. 2 per flauto traversiere. Auser Musici (Carlo Ipata, flute; Guido Balestracci, viola da gamba; Ugo Nastrucci, theorbo, baroque guitar; Paola Poncet, harpsichord). AGORÁ MUSICA AG 157.1 (44:02).
From the blurb for the TV series "Evolution":
Some scientists believe that art, literature, music--in fact all of human culture--may be the ultimate result of our sexual drives.
The young Spanish soprano Marta Almajano has been known to the readers of Fanfare and the cognoscenti (aren’t they one and the same?) for some years now, but she will certainly gain new prominence on the strength of her new solo disc for Harmonia Mundi Ibèrica exploring the tonos humanos (or solo songs) of the later seventeenth century. We spoke recently by telephone about her recent activities and future plans.
read the interview here
terça-feira, maio 7
The web page that I maintained during the last six years in which I was employed at Princeton is no longer hosted by that august institution, since I have left for greener pastures, but you can still access its archive of hundreds of reviews (some of them reprinted in this blog) here. Smile when you see the ancient photograph (from August 1997) adorning the page.
segunda-feira, maio 6
I haven't posted in a while. That's because this is the end of a semester here (crazy, isn't it?) . So I have tons of students to evaluate, and classes to attend, and papers to write (for my doctorate) and miles to go before I sleep...
This week I have not been able to practice, even though I have a recital in 2 weeks.
I have not been able to read, even though I have a brand new book waiting for me next to my bed.
I have not been able to be with my daughters, even though Jú's 15th birthday is approaching and she needs my help to plan a big party.
I have not been able to write a single e-mail to my dear friend Elizete, even though her father died yesterday.
I have not been able to call my mother on the phone, even though she is my mother.
So to all of you, my friends, Meg and Vania most specially: my sincere apologies. I will be back soon, I promise. In the meantime, Tom will post for the two of us....
betwixt and between...
Señora mía, si yo de vos ausente
en esta vida duro y no me muero,
paréceme que ofendo a lo que os quiero,
y al bien de que gozaba en ser presente.
Tras éste luego siento otro accidente,
que es ver que si de vida desespero
yo pierdo cuanto bien de vos espero,
y así ando en lo que siento diferente.
En esta diferencia mis sentidos
están en vuestra ausencia y en porfía.
No sé ya qué hacerme en mal tamaño.
Nunca entre sí los veo sino reñidos:
de tal arte pelean noche y día,
que sólo se conciertan en mi daño.
Garcilaso de la Vega
A SoONNET TO HEAVENLY BEAUTY
Joachim du Bellay (English translation by Andrew Lang)
If this our little life is but a day
In the Eternal,--if the years in vain
Toil after hours that never come again,--
If everything that hath been must decay,
Why dreamest thou of joys that pass away,
My soul, that my sad body doth restrain?
Why of the moment's pleasure art thou fain?
Nay, thou hast wings,--nay, seek another stay.
There is the joy where to each soul aspires,
And there the rest that all the world desires,
And there is love, and peace, and gracious mirth;
And there in the most highest heavens shalt thou
Behold the Very Beauty, whereof now
Thou worshipest the shadow upon earth.
DE LA BELLEZA DE SU AMADA
Lope de Vega
No queda más lustroso y cristalino
por altas sierras el arroyo helado
ni está más negro el ébano labrado
ni más azul la flor del verde lino;
más rubio el oro que de Oriente vino,
ni más puro, lascivo y regalado
espira olor el ámbar estimado
ni está en la concha el carmesí más fino,
que frente, cejas, ojos y cabellos
aliento y boca de mi ninfa bella,
angélica figura en vista humana;
que puesto que ella se parece a ellos
vivos están allá, muertos sin ella,
cristal, ébano, lino, oro, ámbar, grana.
ON THE BEAUTY OF HIS BELOVED
(English translation by Aodhagán O'Broin)
The icy stream is not on mountain high
more scintillating or more crystalline,
nor carvèd ebony as dark or fine,
nor flaxen flowers as blue in deep July,
nor does the eastern gold more brightly shine,
nor breathes the scent of precious amber more
sensual, more delicate or pure,
nor can the conch a richer red define,
than forehead, eyebrows, eyes and hair and breath
and mouth of my seraphic lovely one,
an angel's face revealed in human guise;
these things without her would seem dull as death,
since she embodies them: crystal; ebon';
flax and gold and amber; scarlet dyes.
domingo, maio 5
Reality is that which, when you stop believing in it, doesn't go away.
-- P.K. Dick / Valis (1981)
Music is the most perishable of things, fragile and delicate, easily destroyed.
-- P.K. Dick / The Preserving Machine (1953)
"Whether the world seems a pleasant or a hostile place is largely the result of the cumulative impression of seemingly insignificant daily encounters: dealings with salespeople, bank clerks, letter carriers, bureaucratic officials, cashiers and telephone operators."
sábado, maio 4
Vocabularies of motives
Tannen sums up C. Wright Mills
(American Sociological Review, Vol. 5, No. 6. (Dec., 1940), pp. 904-913):
"Individuals decide what is logical and reasonable based on experienceof what others give and accept as logical and reasonable motives. And these "vocabularies of motives" differ from culture to culture."
...language is less freely generated, more prepatterned, than most current linguistic theory acknowledges. This is not, however, to say that speakers are automatons, cranking out language by rote. Rather, prepatterning (or idiomaticity, or formulaicity) is a resource for creativity. It is the play between fixity and novelty that makes possible the creation of meaning.
In learning to speak Portuguese, the challenge is not so much to say something intelligible, as to say something that is a Brazilian cliche, rather than an American one. The difference between our normal language usage and that of the famous Star Trek episode in which all of the alien's words were intelligible, but none of his meaning, due to their cultural referents, is not so great as it might seem.
....is available at www.teletranslator.com. You can use it to translate whole webpages into
English, for example take a look at the English rendition of oglobo.globo.com.
Every act of saying is a momentary intersection of the 'said' and the 'unsaid.' Because it is surrounded by an aureola of the unsaid, an utterance speaks more than it says, mediates between past and future, transcends the speaker's conscious thought, passes beyond hismanipulative control, and creates in the mind of the hearer worlds unanticipated. From within the infinity of the 'unsaid,' the speaker and the hearer, by a joint act of will, bring into being what was 'said'.
-Stephen Tyler, The Said and the Unsaid
More on the flute
An interesting cross-cultural perspective on playing the flute is found here (the second book being reviewed - use your browzer to find the word flute).
Language and persona
I hope I am not misremembering what I have been told about Paulo Ronai when I recall that he is said to have thought that one has a different personality for each language that one speaks. Of course each language is embedded in its own network of cultural expectations. But in reading "Talking voices", a scholarly work by Deborah Tannen (who has written about discourse analysis for the general public with great success), the following jumped out at me "rhythm is as basic to conversation as it is to musical performance....when cultural backgrounds are shared (but not when they are not, and not when a participant is schizophrenic), ...movements of listeners are also synchronized with the movements and speech of speakers". So what I take from this is that those who do not share cultural backgrounds are effectively schizophrenic as far the other is concerned. And that indeed being "in the groove" is more fundamental to communication than the words that are uttered. And perhaps that is why musically compelling performances are the ones that bring the listener into a shared rhythmic space, bringing him or her into the motion and breathing of the performer. And even further, perhaps the compelling attraction of Brazil (or at least Rio) for a gringo is participating in a shared groove, a shared rhythm, the dois por quatro that is the compasso do Brasil.
Last night Swain and I went to see Moliere's Don Juan at the McCarter theatre. It always appalls me to see the self-satisfied pomp of the Princeton elite enjoying a night of culture, but then I suppose that perhaps they are not so different from the sorts that might have been at the premiere of the play in 1665. Parts of the play were so shocking to those with religious scruples that they were toned down after the first performance, and though the play was a great success when it premiered before Lent, it was not continued when the theaters opened again after Easter, and never played again during Moliere's life. The putatively original text was first published in Amsterdam in 1683.
The production at McCarter was visually stunning, beautiful sets, beautiful costumes (a particularly nice sequence at the beginning when Sganarelle helps his master change from one expensive outfit to another, a bit of stage business not in the orginal directions). Some actors played more than one role, not always with the most convincing results (e.g the peasant Mathurine reappearing as a tailor), or with results not intended by Moliere (Dona Elvira en travesti as one of her own brothers). Both Sganarelle (the Leporello role) and the Don were excellent, though at the beginning Sganarelle's delivery was a little too "American" for my taste, and I found it hard at firstto accept the very high-voiced actor playing the Don as a villain (a macho male should be at least a baritone; a high tenor can come off as a feckless lover or ineffectual fop). The blocking was excellent (particularly good use of
treadmill on which the Don and his valet could walk through the forest). The Don's speech in which he declares that he will not change his ways, but simply be hypocritical about them, as the rest of society does, was brilliant, the high point of the show.
sexta-feira, maio 3
The interview that I did over a year ago with David Korenchendler will be published in the July issue of the monthly 21st Century Music. They will also publish the interview I did last July with Antonio Guerreiro (no date yet). I am also hoping to do an interview with Mark Hagerty for them.
This is pretty much the way he looked last night, and the angle from which I was looking...
Last night I took the NJ Transit train up to Penn Station (about 80 mins from the Trenton station), and walked over to
the Jazz Standard, a club on E. 27th between Park and 3rd Ave. That stretch of Manhattan has lots of wholesale shops selling jewelry, clothes, etc., in fact there's almost nothing else, so after business hours it's a little creepy to walk through (on the way back to the station I saw a few people getting read to bunk down for the night on the sidewalk in cardboard boxes. By the time you get to Park Ave it's back to being upscale (the New York Life building is there on 27th). The Jazz Standard is in the basement (of course)
and there's a restaurant upstairs. It's been an eternity since I actually went to a name jazz club in Manhattan (I recall going to hear
Roy Eldridge with my girlfriend in 1975), and of course you don't get the same value for money that you would elsewhere in the US.
The club had two shows last night, at 7:30 and 9:30, and the first show started very efficiently at 7:35. The ambience was pleasant enough, the food was good (I ordered a pulled pork sandwich, which took an eternity to arrive, but the waitron apologized when he realized that the kitchen had lost the order, and brought me a free beer (a five dollar value.) The sandwich was a mere nine-fifty.
So the reason I went up there was to hear Danilo Perez, a big favorite of my friend pianist Paul Rosenberg. Things got off to an atmospheric start, with a number of brief tunes, and not much improvisation. The drummer, Adam Cruz, also plays steel drum (or pan) and up close it sounds a lot like a seventies synthesizer...Things got cooking after a while with what sounded like a Monk
tune with an interesting rhythmic interpretation. Adam Cruz is a very fine drummer and he was really pushing Danilo Perez - great interplay. I was less taken with the bassist Essiet Essiet - not quite enough body to his bass sound, so that I heard more rhythm than pitch. He only soloed very briefly.
I very much appreciated the fact that the club explicitly asked the audience to be quiet during the set, and if they had to communicate, please whisper. Nevertheless there was a table of about eight boorish and drunken men to the right of the stage talking at the top of their lungs (though not throughout the set). Seated next to me was a pair of musicians who greeted Essiet
after set (one said he was preparing to go on tour with Barry Manilow this summer....).
The set lasted 65 mins, and then the club cleared for the next set.
A long trip, and a lot of cash, for a short concert, but then I am not going to be able to Perez in New Jersey or Pennsylvania....
quarta-feira, maio 1