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In April, singer Will McMillan read a post at Suzanne’s Mom’s Blog, here, about research on why people feel joyful when singing with others.

Having dug into the physiological research and found that heartbeats often synchronize, Will wrote a blog post of his own and included an MP3 of singing “Blue Moon” with his frequent collaborator, Bobbi Carrey. “(They perform at Scullers in Cambridge this coming Thursday.)

It was in the comments at Will’s blog, here, that I found this YouTube recommendation — a deeply empathetic baby listening to a sad song. You see what music can do.

I hasten to add that for me, there are fewer happier moments than crying to a sad song. Don’t know how old you have to be to feel  happy-sad. I hope the baby feels good.

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My husband and I are big fans of Broadway music and also of Boston area singer Will McMillan, who gave a free concert in the Brighton library today.

The show was centered around the composer Harold Arlen, beloved for songs such as “Somewhere Over the Rainbow,” “It’s Only a Paper Moon,” “Blues in the Night,” “Let’s Fall in Love,” and “That Old Black Magic.” Interspersed with his songs, Will gave a delightful rundown on Arlen’s life, work, and main collaborators (Ted Koehler, Johnny Mercer, and Yip Harburg).

For my money, no one puts over a song with the emotional truth of Will McMillan. He becomes the story. In fact, he almost skipped a beat on the little-known intro to “Rainbow,” when the words seemed to carry special meaning for him. And I really liked how he tied the words of “If I Only Had a Heart” to an important goal in his life: “to be a friend to the sparrows and the boy with the arrows.” Or, to see all sides.

Joe Reid, a fine jazz improviser, accompanied Will on the piano and got “Happiness Is a Thing Called Joe” in his honor.

Read more at Will’s blog, here, where you can listen to his MP3s, too. Catch him and frequent collaborator Bobbi Carrey at Scullers November 14.

Cabaret singer Will McMillan with a fan after his show in Brighton today.

Will-McM-with-fan

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Hidden Faces of Courage, a “theater piece with music” created by Mary Driscoll in collaboration with formerly incarcerated women, is coming soon. I will write more after I have seen the production in November, but I need to alert you that if you want tickets, you might want to get them now as the performance space is rather small. Go to Fort Point Theatre Channel, here.

I met Mary in the playwriting class that I blogged about a few times. I didn’t continue with theater after the class, but Mary kept working at this play. She has a deep commitment to helping women who have been in prison, having worked with them for years at her nonprofit, OWLL (On With Living and Learning Inc.).

Mary writes: “The voices of previously incarcerated women are notably absent in the artistic world—a world that can engage a broader community in reform and foster greater understanding between the individual and diverse audiences. Sometimes in unexpected ways.”

Read more about her show at Broadway World, Boston, here.

Hidden Faces of Courage is directed by Tasia A. Jones, with music by Allyssa Jones, and runs November 8-10, 15-17,  at The Boiler Room, 50 Melcher Street, Fort Point, Boston.

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The Street Pianos are in Boston and getting some enthusiastic use. Today was a lovely day to be outside, and I saw several people of varying skill levels playing the two pianos in Dewey Square.

Occupy Boston’s time in the square having failed to do anything to change the tragedy of homelessness, a loose-knit fraternity were hanging out, listening to the music or taking a turn. A group of us from work went over to hear an economist/musician play duets with strangers and then start taking requests.

Since the pianos are supposed to stay outdoors in Boston until October 14 — sunshine, rain, or snow — several colleagues were wondering about how the Celebrity Series folks, who are sponsoring them, intend to keep the pianos safe. We concluded that the huge pieces of plastic nearby were placed there in the faith that public-spirited passerby would do the right thing in case of a cloudburst.

It was a beautiful day for a work break singing Gospel, rock, “Climb Every Mountain, and “Old MacDonald Had a Farm” (for a toddler in a stroller whose mom stopped to watch).

092613-girl-plays-street-piano

Economist-plays-street-piano

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The music of avant garde composer Kenneth Kirschner is open source, free to experiment with.

Other musicians are looking for sales models that may render hidebound and  unimaginative music labels obsolete.

Allan Kozinn of the NY Times describes what Rabbit Rabbit Radio is doing.

“With some help from George Hurd, a composer and music administrator, [Matthias Bossi and Carla Kihlstedt] produced a blueprint for Rabbit Rabbit Radio and started the Web page in February 2012. The plan was to release a new song for subscribers on the first of every month.

“Along with the song, Ms. Kihlstedt and Mr. Bossi, who are married to each other, began posting video clips, slide shows and photo albums; information about the making of the track; essays on various subjects; and lists that might include links to clips by other musicians whose work they admire or notes about restaurants they have discovered on tour. Past releases can be explored in their online archives.

“Subscribers pay $2 to $5 a month. (There is no difference in access; it’s a matter of paying what you can.) …

“So far, 18 months into the project, Rabbit Rabbit Radio has nearly 900 subscribers.”

More here.

Pay-what-you-can usually relies on some people paying more than they would ordinarily pay for the product. Theaters offer it occasionally, but they could never survive just on that. Panera Bread struggled with the model when it first tested it in St. Louis.

John has told me about a video-game payment model that requires people to pay small amounts for tools that can help them win the otherwise free game. Sometimes, he says, there’s a pop-up in the intense middle of the game that says you have to wait eight minutes to continue but if you want to keep going right now, you can pay a small amount.

I think if you are motivated enough, you will pay a small amount for almost anything. I hope the approach works for Rabbit Rabbit.

Photo: Gretchen Ertl for the NY Times
Matthias Bossi and Carla Kihlstedt, with their daughter, 4.

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I like to listen to a jazz radio station out of Worcester, WICN.

The other day the announcer mentioned an effort funded by TD Bank’s charitable foundation to collect old school instruments and refurbish them for a new generation.

If you live near Worcester and have been wondering what to do with those drums and violins, consider dropping them off at 50 Portland St. If you don’t live near Worcester, you might consider looking for a similar program in your town — or even starting one. Other TD Banks might help out. Banks in general can be good sources of such community support.

Here’s what the website says: “WICN 90.5, the NPR jazz station in Worcester, and Worcester Public Schools continue their collaboration called Instrumental Partners. The program collects used musical instruments from Central New England residents for the benefit of public school students. ‘We’re approaching 100 instruments donated so far!’ said WICN General Manager Gerry Weston. Instrumental Partners began in 2012.

“All instruments are accepted: brass, wind, string, percussion, acoustic, electric, etc. Worcester Public Schools Performing Arts Liaison Lisa Leach said, ‘We are very excited about this collaboration and putting instruments in the hands of young people who are unable to purchase or rent them, but still have the desire and work ethic to make music an integral part of their developing lives.’ ” More.

If you want to call first, the number is 508 752 0700.

12/27/13 Update. Today I took the oboe and the alto sax below to WICN for the Worcester Public Schools music program. Now a new generation of children will play them.

school-instruments-sax=oboe

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Photo: Daniel Balter
Moby Disc, a creature sculpted from 6,000 CDs salvaged from landfills by Fireseed Arts.

Central Massachusetts is getting its own arts and music festival this weekend in Devens (what used to be the military base Fort Devens).

Nancy Shohet West writes at the Globe, “During her years as a university student in Austin, Texas, Monica Hinojos witnessed firsthand the way the city’s iconic festival, South by Southwest, grew meteorically from a music festival with 700 participants in 1987 to an amalgam of music, film and interactive media that drew 25,000 people to this year’s gathering in March.

“So it’s understandable that when Hinojos took up the reins as executive director for 3Rivers Arts, a Groton-based nonprofit whose mission is to support local artists and the arts while spurring the creative economy and enriching community life in the towns in and around Central Massachusetts, she arrived with grand visions.

“One of those visions will materialize this weekend in the form of ‘The Nines.’ The multistage music and arts festival’s inaugural edition kicks off Saturday at Willard Field in the Devens property off Route 2.

“Hinojos concedes the scale of the event might seem a little bit outsized for the normally low-key performance scene in the Nashoba Valley, but she says it is time to start building up local cultural offerings — and that’s why she’s choosing to do it with a bang.

“’ I had a vision of a music, film, multiart festival, modeled on South by Southwest,’ Hinojos said. ‘We want to provide a platform for artists in Central Massachusetts by which we can elevate their work. We have some world-class artists out here. My vision is to amplify their presence so that others throughout New England and the world can see it.’ …

“ ‘In the end, we found a little bit of something for everyone,’ she said. ‘Most of the musical performers are nationally touring, emerging acts …’

“Identifying local artists appropriate for the event was the job of 3Rivers Arts art director Christopher Cyr, a Rhode Island School of Design graduate now living in Pepperell. One of the studios he chose to highlight was FireSeed Arts of Framingham, known for its ‘art with a repurpose’ mission and focus on eco-design.

“ ‘We call it locally harvested trash,’ said Daniel Balter, a cofounder of FireSeed Arts. ‘We try to bring awareness to the role of repurposing trash as art. The Nines festival is a perfect opportunity to provide platforms for local artists, and create some great things.’ ”

“Gates open at noon; the music begins at 1 p.m. and will continue until 11 p.m. … www.theninesfestival.com or  800-653-8000. Children under 10 admitted free if accompanied by parent or guardian. ” More.

Photo: Colm O’Molloy for the Boston Globe
Monica Hinojos of 3Rivers and Benjamin Jachne of Great Northeast Productions are co-sponsoring The Nines music, comedy, arts festival in Devens.

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Suzanne is in Denmark at the moment and sent me a website for something unusual she saw there: a modern Stonehenge.

“The idea of creating The DODECALITH arose in 2006 when the composer Gunner M. Pedersen saw sculptor Thomas Kadziola’s land art project Anemarken (Ancestors’ field) … on the island of Lolland.

“The composer suggested that he and the sculptor create a Stonehenge on Lolland, consisting of a circle of twelve huge menhirs with heads in the open countryside.”

The creators write, “On a hill overlooking the sea, we are creating a singing monument … that will give everyone from near and far an experience of greatness, closeness and beauty, of time’s migrations and settlements. It will express pride and humbleness, times gone by, the present, and, importantly, time coming. …

“The stone figures will stand on invisible foundations and they will sing!
Under a circle of natural sitting stones, a 12 channel sound system will be installed. This system will allow spatial electro acoustic song and music specially created for The DODECALITH to sound inside the circle at intervals every day, all year round. …

“The ancestors [came] from afar, from the land to the south where the waters rose 7,500 years ago and sent the Lolers on their long journey. … Along the coast from Ravnsholt to Ravnsby alone, over 70 burial mounds have survived, several of which are passage graves. … There are now only four mounds … It is here we are re-erecting the Ring of the Lolers, The DODECALITH, to let the new Lolers ancestors sing.” More.

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John’s son has a friend at the beach, a three-year-old musician whose dad is the contemporary composer Kenneth Kirschner.

5against4 has a word on Kirschner’s work, here: “Ken Kirschner’s second longest release to date is a hypnotic exploration of what we might call ‘mobile stasis’. The complex texture, comprising vibes, electronic tones & strings intermingle in ever-changing permutations. Certainly one of Kirschner’s most ambitious texture works &, for those open to its unique type of language, an immersive, rewarding listening experience.” They link to a free download.

Last.fm has more, here: “Composer Kenneth Kirschner was born in 1970 and lives in New York City. He is known for his open source approach to music, his experiments with software-based indeterminate composition, and his interest in adapting the insights and aesthetics of 20th century composers such as Morton Feldman and John Cage to the context of contemporary digital music.

“His work has been released on CDs from record labels such as 12k, Sub Rosa, Sirr, and/OAR and Leerraum, as well as online through a wide variety of netlabels and other sources. A large selection of Kirschner’s music is freely available for download from his website.” See http://www.kennethkirschner.com.

You can also find remixes of Kirschner’s work at Soundcloud.com, but it doesn’t look like he puts his compositions there himself.

Photo: Last.fm. Uploaded by uf_on.

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A high-minded concert may be a drop in the bucket when it comes to fighting global poverty, but as you know, I’m a believer in the power of “One and one and 50 make a million.”

In May, James C.McKinley Jr. wrote for the NY Times, “When the Global Poverty Project staged a benefit concert with Neil Young, the Black Keys and Foo Fighters in Central Park last fall, skeptics wondered if that nonprofit’s attempt to generate pressure on world leaders to help the poor would fade as soon as the amplifiers and guitars were put away.

“But this week the charity proved it had won converts, at least within the music industry. More than 70 artists, among them Jay-Z, Beyoncé, Bruce Springsteen, Pearl Jam and Bruno Mars, have pledged to give the project two tickets from each of their concerts over the next year, creating a pool of more than 20,000 tickets.

“The tickets will be used as prizes to encourage people to become involved in causes like fighting poverty in the third world, eradicating polio, building schools and ending famine. To win the tickets, fans are asked to earn points by taking action through a related Web site, globalcitizen.org. They can sign petitions, pledge to volunteer their time as aid workers, write elected leaders or donate money to aid organizations.

“‘It provides us with an opportunity to get really powerful activism worldwide,’ said Hugh Evans, the chief executive of the Global Poverty Project.” More.

Do check out a related post from 2011 on a countertenor who runs Artists for a Cause, a collaboration that provides talent for fundraising events — here.

Photo: Julie Glassberg for The New York Times
Neil Young with Crazy Horse performing in Central Park in September 2012 in a benefit concert for the Global Poverty Project.

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Here’s a tip for anyone planning to be in London in late fall. A cabaret festival, said to be the first ever, will take place in locales around the city.

Matthew Hemley writes at The Stage, “Comedian Alexander Armstrong and US singer Michael Feinstein are among the performers lined up to appear as part of the first London Festival of Cabaret.

“The festival will run from October 22 until November 15 with events taking place in a variety of venues across London.”Other acts taking part include Elaine Paige, Maria Friedman and Barb Jungr.

“Armstrong will appear in Alexander Armstrong and his Band Celebrate the Great British Songbook from October 28 to 31 at the St James Theatre, where Friedman will give a master class in performing cabaret on October 25.

“Friedman said: ‘Cabaret is a unique way for an artist to hone their communication skills, allowing the audience an up-close, concentrated, in-the-moment experience.’ ”

More.

My husband and I enjoy cabaret music. We like to catch Will McMillan when he performs, whether it’s in Jeff Flaster’s original musical Tortoise or on the terrace in front of Cambridge Adult Ed.

Are you going to London, Will? These London guys need to see the show you put on with Bobbi and Doug, don’t you think?

Photo: Willsings.com

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This is the story of how a song saved a cultural center in the Catskills.

Dennis Gaffney writes for the NY Times that at a recent celebration of success,  “Jay Ungar, a fiddler wearing a black vest and hiking boots, and his wife, Molly Mason, playing guitar, stood on a stage in a barnlike performance hall that did not exist a year ago. ‘Can you stand to hear this tune one more time?’ he asked the audience. …

“The tune is ‘Ashokan Farewell,’ the bittersweet lament familiar to millions as the theme song that the filmmaker Ken Burns used for the emotional crescendos of his Civil War series. But most do not know that Mr. Ungar’s moving hymn helped save the Catskill place that inspired the song, resulting in the Ashokan Center, a $7.25 million campus here dedicated to traditional music, Catskill history, environmental education, and local arts and crafts. …

“Many still assume that Mr. Ungar wrote ‘Ashokan Farewell’ with the Civil War in mind. But he wrote it on a September morning in 1982, after the end of his third Ashokan summer music and dance camp on this property, which the State University of New York at New Paltz owned and had used since 1967 as a field campus for environmental education.

“ ‘I left on a cloud of utopian euphoria,’ Mr. Ungar said of that summer. ‘You try to keep it alive, but it evaporates.’ ”

The song went on to have a life of its own, and Ungar even performed it at the White House. NY Gov. Pataki had heard it, too, and when a dismayed Unger contacted him about the pending sale of the Ashokan Center in Olivebridge,  the governor took action.

Soon a lot of people were on board, with the wistful song always at the heart of their efforts.

Writes Gaffney, “Mr. Ungar has come to believe that his song, like a traditional hymn, evokes much more than loss. In the mid-1990s, he got an e-mail from a man in Africa who said he was driving in his car when he heard ‘Ashokan Farewell’ on the radio. ‘He started crying uncontrollably and he had to pull off the road,’ Mr. Ungar recalled. ‘He said that in his culture, after the age of 10, men don’t cry, but he needed to cry.’ ”

More.

Photo: Nathaniel Brooks for The New York Times
Jay Ungar and Molly Mason playing “Ashokan Farewell” at the Ashokan Center.

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Nearly every morning when I was four or so, my mother would send me upstairs to wake my father, and he would sing in a hungover gravelly voice “Minnie the Moocher.”

Last weekend I sang a few lines to my Swedish son-in-law, including “She had a ro-mance with the King Sweden/ Who gave her things that she was needin’.” I won’t repeat what he said about another King of Sweden.

See all the correct lyrics here.

Anyway, I was pondering the phrase “she was the roughest, toughest frail” when I happened upon a radio talk show on how we date ourselves if we use older terms: if we say “blouse” instead of “shirt” or “slacks” instead of “pants.” The radio host made a big deal of young people who don’t know that a “churchkey” opens bottles, for example.

Photo of a “churchkey”: Wikipedia.com

Churchkey is a fun term, but older terms from my father are even more fun. Do you know “infradig,” for example? Other words he used will come to me later, and I’ll update.

Meanwhile, what is a “frail,” rough and tough or otherwise? The Slang Dictionary provides the usage in a sentence:

“n. a girl; a woman. (Underworld. frail frame = dame. Detective novels and movies):  ‘I’ll shoot the frail if you don’t hand it over!’ Dictionary of American Slang and Colloquial Expressions, by Richard A. Spears. Fourth Edition.
Copyright 2007. Published by McGraw Hill.

By the way, almost any song from the musical Guys and Dolls will give you a flavor of the period I’m talking about.

And here’s Cab Calloway, who made Minnie famous.

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I saw these fiddlers a couple times while waiting for the evening train to Porter Square. For weeks there were tweets: “Who are those guys?”

Steve Annear at Boston magazine got the scoop. “Two former Berklee College of Music students have made a full-time job out of playing contemporary music on their violins for the swarms of passengers that crowd the platforms of the MBTA each day.

“After meeting in 2009 outside of the school, violinists Rhett Price and Josh Knowles got together and decided to form a two-piece ensemble and perform songs while standing on the Boston Common. But when winter got too cold and their fingers ‘started to get stiff,’ Price says the pair turned to the T for a busker’s permit so they could share their songs with riders traveling on the underground transit system.

“ ‘It’s been amazing. I was really nervous at first—we were nervous about playing on the T in general, and we didn’t think any one would give us any money. But there are people who come up and [request songs],’ says Price. ‘This is what we do right now to pay bills.’ …

“Price says he and Knowles play at three stops throughout the week, including North and South Stations, and at the Harvard Square stop. In a few weeks, they’re kicking the public transportation appearance up a notch, and will travel to New York City to play for riders there.”

Um. Forget about New York. Spend more time at South Station, please.

More.

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As I mentioned the other day in the post about the Latin newscast on Finnish radio, I am interested in endangered languages.

Now a composer who is also interested has melded voices of  threatened languages with his music.

Corinna da Fonseca-Wollheim writes at the NY Times that the “Vanishing Languages” project by Kevin James, “a New York-based trombonist and composer, is a rare hybrid of conservation effort and memorial, new music and ancient languages.

“Prodded by Unesco statistics that predict that by the end of the century half of the world’s 6,000 languages will be extinct, Mr. James spent months in the field tracking down and recording the last remaining speakers of four critically endangered tongues: Hokkaido Ainu, an aboriginal language from northern Japan, the American Indian Quileute from western Washington, and Dalabon and Jawoyn, aboriginal languages from Arnhem Land in Australia.”

Reviewing a concert James gave at a New York venue, da Fonseca-Wollheim says, “ ‘Counting in Quileute,’ which opens with bells struck and bowed and swung in the air and ends with the ring of a Buddhist prayer bowl, had a strong ritualistic feel to it.

“The often puzzling actions of the players — flutists whispering into mouthpieces, a cellist tapping with both hands on the fingerboard as if playing a recorder — appeared like a secret choreography designed to bring forth the voices of the dead filtered through the crackle of old phonographs.

“The imperfections of these old recordings, which Mr. James used alongside those he made recently in the field, show how heavily smudged the window is that we have on these vanishing cultures. And yet at times it seemed as if it were these voices who were willing the performance into existence.” (Isn’t da Fonseca-Wollheim a lovely writer?) More.

For a couple other blog discussions of endangered language, click here or here.

Photo: Ruby Washington/The New York Times
Leah Scholes of Speak Percussion using a double bass bow to play a bowl as part of “Vanishing Languages.”

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