Fetter (n.): 1. a chain or shackle for the feet. 2. something that confines.
Some of my favorite hooks in the world are the kind where you can tell something’s being revealed or turned on its head, but you won’t figure it out without a little research (or an extensive vocabulary). And man, Ian Stahl sure knows how to write one.
The line in question comes at the end of the chorus of “Fetters and Feathers,” the title track of Cilience’s debut EP. Backed by intrinsically satisfying syncopation, frontman Stahl sings, “Waiting for something better/Until fetters are feathers, I’ll sing until I can fly.” It’s the kind of music you’d want to listen to during a sunny drive up the Ventura coast—which, for a song intended to highlight racial inequality, is impressive. Its parent record, Fetters and Feathers, is a conceptually quirky but idiomatically sound ride through a host of styles and existential quandaries that invites listeners to explore as far as they want to go.
Continue reading Sing Until I Can Fly: Cilience Releases Debut EP ‘Fetters and Feathers’
A week has come and gone, and one cancelled flight and many phone calls later, I’m in the air headed home from the Rafael Méndez Brass Institute. RMBI brings together a veritable army of instructors, students, auditionees, performers, and a couple amazing collaborative pianists for a week of brass-related shenanigans. I didn’t want to post too much about my expectations going into the festival, so for the most part I’ve kept quiet online. However, now that I’ve made it out the other side, I thought I’d compile a list of the festival’s greatest hits (and misses) for anyone who’s considering attending next year. As always, these opinions are my own, and I’m always cognizant of the fact that as a musician whose focus is largely on contemporary performance, my experience differs from my peers’. But here are my biggest pros and cons of RMBI 2018:
Continue reading Summer Festival Breakdown: the Rafael Méndez Brass Institute
The members of Dreams and Doorways don’t make a big deal about their entrance.
Sure, a fog machine is at work and they’re accompanied by the fixed-media piece, aptly titled “Enter,” that opens their album, but they don’t need an elaborate light show or an announcer to herald their arrival. Their 150-odd audience members are already cheering.
That fact itself is perhaps one of the most refreshing aspects of Dreams and Doorways’ live show: the five men on stage are unassuming and earnest, there to officially release their debut LP, Hidden Reflections, and have fun doing it. Their stage, swimming in amplifiers and instruments (everybody does at least two things over the course of the show), is otherwise simple; a few model ships and airplanes accompany a sole hot air balloon, but visual distractions are minimal. This show is all about the band.
Continue reading Rock ‘n’ Roll Band: Dreams and Doorways Release ‘Hidden Reflections’
Classical trumpet players rarely learn a Paganini concerto just for fun. Then again, most trumpeters in their mid-twenties have not already served as principal trumpet of a touring orchestra and placed first or second in not one but three National Trumpet Competition categories. Most trumpet players have not performed as a soloist with the symphony orchestras of two universities and accepted a position as a visiting trumpet professor while finishing their doctoral studies.
Alex Wilson is not most classical trumpet players, and his recording of Paganini’s second violin concerto proves it.
Continue reading Shiny Violin: Alex Wilson Plays Paganini