March Dates

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I rarely advertise gigs on the blog but I have a few coming up that I think are worth mentioning. The Fencemen are embarking on a mini-tour this coming weekend with Brooklyn’s Your Skull. I don’t know where all of you readers are located, but I do know that I get steady traffic in southeast MI (particularly Ann Arbor and Detroit) as well as Chicago. We’ll be near you both, along with Kalamazoo:
• 03.15.13 – Detroit, MI
• 03.16.13 – Chicago, IL
• 03.17.13 – Kalamazoo, MI

Full info below. Also, the following weekend, I’ll be in Muskegon playing in the Fame pit (check my itinerary if interested in that). But for St. Patrick’s Day weekend, if you’re around, come get a loud and lovely dose rock and roll. Bring your ear plugs, sturdy shoes, and good vibes. The Fencemen, Your Skull, and all of the other bands plan to tear it up…

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[Re-posted from michaelteager.com:]

The Fencemen are hitting the road next weekend for a brief mini-tour of Detroit, Chicago, and Kalamazoo with Brooklyn’s Your Skull. All the shows promise to be fun and raucous – rock with a capital R-A-W-K. Info and links are available at my Itinerary page as well as both bands’ sites and pages. Definitely check us out if you can!

03.15.13 — Detroit, MI — PJ’s Lager House
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03.16.13 — Chicago, IL — FML

 

03.17.13 — Kalamazoo, MI — Louie’s Trophy House & Grill
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Die Meistersinger von Chicago

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http://www.youtube.com/watch?v=hqU3LNN-tAY

Last week I trekked to Chicago to see my first live performance of Richard Wagner’s Die Meistersinger von Nürnberg. The Lyric Opera of Chicago is featuring the Glyndebourne production this season, and starring the Hans Sachs: James Morris. Rounding out the cast was Johan Botha, Illinois native Amanda Majeski, and Bo Skovhus. While I’m not here necessarily to write a review of the performance, I’d definitely like to reflect on my experience.

In brief, Die Meistersinger stands out among Wagner’s output. First, it’s his only comedy. (More specifically, it’s the only comedy in the Bayreuth canon.) As a loyal Wagnerite, I concede that humor is generally the last characteristic associated with the composer. He has occasional comedic moments in other works (e.g., “Das ist kein Mann!”), but weighty melodrama is often his weapon of choice. And, what’s more, it’s an actual comedy – instead of just “funny for Wagner.” (And if comedy’s not your thing, then you’ll at least find the subplot regarding arguments of aesthetics quite relevant.) Second, it’s his only opera that’s not about a vaguely Medieval – or earlier – plot or legend. It revolves around the actual singing guilds in Renaissance Europe. (And Hans Sachs, the main protagonist, was a real person, though he’s arguably more of a template than anything else in Die Meistersinger.) Third, Die Meistersinger is a structural departure from Wagner’s other works. In it he employs more traditional operatic devices – aria, chorus, ballet, a quintet, catchy melodies – albeit in his own Wagnerian manner. Finally, it’s long. And that’s saying something when discussing Wagner. Despite Der Ring des Nibelungen‘s mammoth length (~18ish hours over a week), Meistersinger is his longest standalone work. (Parsifal and Götterdämmerung aren’t far behind, however.) Including the two intermission, Chicago’s production lasted 5.5 hours, from 5:30 to 11:00 PM.

[Before going any further, it’s worth addressing the work’s controversy – something I’ll mention but not dwell on here, as it’s not the post for it. While Wagner in general was heavily propagandized by the Third Reich, Meistersinger was given particular attention by the Nazi regime. This stemmed from Hans Sachs’s final monologue, heavy with nationalistic sentiment. (It’s worth noting that the work was completed in 1868, a time rife with Franco-Prussian tension.) Also, the character of Beckmesser, the antagonist, is often considered an anti-Semitic Jewish caricature. It’s still debated today, and Katharina Wagner, the composer’s great-granddaughter and current co-director of Bayreuth along with her half-sister, has weighed in on the topic – she thinks Beckmesser probably relied on Jewish stereotypes.]

The production itself was wonderful. (See the above video for a taste.) While the staging was Walther’s peeping in on the congregation in the opening scene, the first act was “open” visually. Every inch of the stage was used in the second and third acts. From the streets and doorways and balconies of Nürnberg, to Hans Sachs’s detailed home and workshop, to the city’s celebration and contest, the sets were elaborate and helped to welcome the audience into a Nürnberg of centuries past. Perhaps what I appreciated most was the fact that the set grew in complexity throughout the work. After the prelude, the audience was treated to the opening scene’s expansive though minimal design. However, about four and a half hours later, at the start of the city’s festival, I felt as if the set engulfed the whole theater. (Did I mention that I sat in the first balcony?) The curtains rose on that final scene to full orchestra, chorus, dancers, jugglers masquerading on stilts, and other visual delights. Music and drama aside, it was a clever way to continually draw the audience in throughout such a massive work. After Chicago’s quasi-minimalist productions for 2005’s Ring and 2009’s Tristan und Isolde, it was nice to see something more fleshed out.

The performing was stellar. Botha was a joyous Walther von Stolzing and Majeski‘s Eva was heavenly. If what I saw last week was any indication, she’ll be one to watch over the next many years. She had a lighter timbre for Wagner, but the fact that it was never abrasive fit well with the piece’s tone. But James Morris towered over the rest of the cast – musically and literally (he’s 6’5″) – as Hans Sachs. He’s been arguably the world’s leading Sachs for the last number of years, as evidenced in The Met’s 2001 production (the one I enjoy at home). I saw him as Wotan in Chicago’s 2005 Ring, and he amazed me again in Meistersinger. Finally, honorable mention goes to the scene-stealing Bo Skovhus as Beckmesser. Not only did he sing magnificently, but his physical comedy throughout really brought the character’s foibles to life. I was struggling to contain my continuous laughter during and after Beckmesser’s his final, confused aria. (The rest of the audience was laughing, but I lost it.) He and Morris alone were worth the price of admission. Vocals aside, Sir Andrew Davis did wonders at the orchestra’s helm. Aside from a couple slight French horn hiccups in Act I – a farewell nod to Dale Clevenger? – the orchestra was near flawless.

Finally, the overall experience itself was transcendent. Again, Gesamtkunstwerk is better experienced firsthand rather than explained. All of the above elements, experienced together, led to my being transported out of my seat and into the story for a few hours last week. From the overture’s opening chord to the finale, I at no point looked down at my watch to check the time. I savored every minute of it, and it ranks as one of my favorite live musical experiences as an audience member. I look forward to seeing it again sometime. (Hopefully the next production and cast hold up!) Until then, I look forward to seeing Lyric’s production of Parsifal this fall!

A discussion of the piece and production by Lyric’s creative heads Anthony Freud, Renée Fleming, and Sir Andrew Davis:

‘Convocation’ Out Now

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Convocation, the new album by Matt Borghi and myself, is now available. I mentioned it a couple posts back when previewing 2013. The album was officially released digitally on January 31, but we’ve been waiting to really advertise it until we approved and finalized the hard copies.

My collaboration with Matt is five years old this year, and it’s been an ongoing reference on this blog. From our time together in The Elevator Conspiracy to our duo work in a variety of genres under both our own names and Teag & PK, we’ve been fighting the good fight – at least if you ask us for our opinion – for a few years now. A couple of last year’s posts were specifically about us. (See here and here.) Long story short, we cover a lot of musical ground. We started out with lounge-ish and jam-ish rock in The Elevator Conspiracy. Then, as a duo, we first explored acoustic indie-rock territory, but quickly pursued a parallel path of ambient-centric improvisation. We’ve continued down both paths the last couple years, but rarely have we mixed them. As Teag & PK, we perform original songs in coffee houses and on the radio. As Matt Borghi & Michael Teager, we explore sound in art galleries and other “listening space” environments. Convocation is an accidental culmination of the latter, and our first full-length album of either style.

I say accidental because we never intended for this to be an album. At least not originally. After a ~6-8 month spurt with our singer/songwriter material last year, we decided to go ambient at the last minute before a gig. (Matt wrote a great article about that evening here.) That gig’s success reinvigorated our ambient leanings, and so we booked some studio time a couple weeks later at Dan Jaquint‘s The Fort. We entered the studio with no plan other than wanting to capture some our new-found spirit. At best, we hoped to walk away with ~15 minutes of usable material for use as a launching point for an eventual album or project down the road. Because of our low expectations, our “rehearsing” consisted of a couple lunches, phone calls, and emails. Matt sent me about six minutes worth of sketches that he had been messing with, but we hadn’t played together since the aforementioned gig. Horn in hand, I noodled with those sketches for about ten minutes. That was it.

Once we were all set to go in the studio, we told Dan that we just wanted to record some chunks of improvisations. With our levels, etc., set, all he really needed to do was start and stop the recording equipment. For the first attempt, we improvised over a recently-composed loop of Matt’s for about 15-20 minutes. Once finished, we looked at each other with much relief – this was going much better than expected. So over the next ninety minutes we laid down four more chunks: two fully improvised without pre-conceived loops, and two fully improvised over loops that Matt had put together since our last gig. We had surprised ourselves and ended up with possibly more than our hoped-for 15-20 minutes of material.

All five of that evening’s sonic treks make up Convocation. Presented in the order in which they were recorded, all of the source material was recorded live. I say “source material” because Matt did some post-production work with the mix and other audiophile-related items, but, except for cutting out some chunks for brevity’s sake, the musical content wasn’t copied-and-pasted together a la Bitches Brew. Over the next several months we contemplated what to do with the material, finally deciding to release it via Matt’s record label Slo.Blor Media – an excellent source for ambient music and sound art.)

For purists, this album arguably may not be a strictly “ambient” work. While the whole album is grounded in an ambient foundation, the focal point, if there is one, is the improvisational monologues and dialogues. That’s where one may possibly hear jazz-ish influences, though don’t waste your time listening for any bop licks. Each of the five tracks is a collective improvisation over soundscapes, two of which were fully improvised and continually change. No “melodies,” “hooks,” or “beats.” Just sound. It’s somewhere in the nexus of ambient, jazz, sound art, and contemporary classical. (The latter if it were notated, but it wasn’t so it’s not.) Again, neither Matt nor I care what you call it. We haven’t even settled on the nomenclature. This is something we’re very proud of and want to share with open, willing ears. What you call it is a distant second to how you receive it.

Please do check it out if you’re interested. Feel free to drop a line if you dig it. And if you feel so inclined, feel free to leave a review on iTunes or Amazon.

Convocation is now available via iTunes, Amazon, eMusic, and Spotify. And you may order a hard copy via Kunaki. For more info, you can visit:
http://slobormedia.org
http://www.mattborghi.com
http://michaelteager.com

Here’s the official press release from Slo.Bor Media:

Convocation is the work of ambient composer Matt Borghi (www.mattborghi.com) and saxophonist Michael Teager (www.michaelteager.com). Recorded as a series of improvisational structures in spring of 2012, this is the first recording that Borghi and Teager have done together after a half-decade of working together.

With Convocation, Borghi brings in spacious guitar textures to create a harmonic fabric for Teager to lay out his saxophone playing with subtlety and nuance. With a background in classical and jazz saxophone, Teager brings a wide palette of influences to the music. Listeners will hear aspects of Jan Garbarek, John Coltrane and Dave Liebman that’s juxtaposed over Borghi’s pastoral guitar sounds that have more of their timbral origins in the work of Claude Debussy or Ralph Vaughan-Williams than they do other contemporary ambient guitarists.

Convocation, as a whole, aims to create a deep and timbrally interesting listening experience while also bringing together an interesting musical pairing and improvisational process. Saxophone and ambient music have never sounded like this, and Borghi & Teager attribute this to their friendship, their approach to the work and their diverse musical interests.

Buy the hard copy CD here now, or you can visit online retailers such as Amazon, iTunes, or eMusic to name just a few…

Trenchucators

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Stand-up comedian Marc Maron describes well the environment which he refers to as “trench comedy.” This includes:
• Performing at small venues for small crowds, most of whom don’t know the performer
• Performing a specific brand or type of comedy – often alternative in nature – for an audience who largely went to the club just to “see a (generic) comedian”
• Hecklers
• Hecklers
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• Performing for a crowd in which your active fan base comprises ~10% of the audience
• Hecklers
• Scraping by financially because your pay partly relies on the size of your draw
• Hecklers

I mention this because it’s a far cry from what most people think of stand-up comedy: George Carlin at Carnegie Hall, The Original Kings of Comedy, Dane Cook’s Vicious Circle – comedians performing for thousands or tens of thousands of enthusiastic fans. But for every special of the fourteen Carlin taped in front of thousands of fans, there are countless performances throughout the country (and the world, for that matter) by “road comics” – comedians who tour the club circuit and largely lack the television and media presence of the A-listers, slogging through the trenches described above. Marc Maron has become a popular comedian over the last couple years thanks to his top-notch podcast, but he’s been at it since the 80s. Hence his authority on trench comedy. Only now, over 25 years in, does he get to headline theaters.

I know, I know – I probably discuss comedy too much on this blog. But it’s relevant, as it often provides good analogies to music. And the above is no exception.

A few months back, after my ranting about a particular textbook (and academic writing at large), I enjoyed a very thoughtful email discussion with my friend and former classmate David McCarthy, a musicologist and saxophonist teaching in Brooklyn. He’s one that I always enjoy talking to about any topic. Always have, and always will. But without getting into our nerding out, one thing he mentioned is that he was glad to have me in the trenches with him, teaching as we do at the college level. The trenches. So very accurate.

Like the comedic triptych mentioned above, “professorhood” has its often-misleading perceptions, especially considering the nationwide attacks on K-12 public education – talk about working in the trenches! Some of these misconceptions are:
• Teaching a couple classes a week, with the rest of the time devoted to one’s research and/or art/vocation
• Cushy salary and benefits
• Tweed jackets abound
• Teaching highly engaged students, most of whom want to study specifically with you
• Office hours = Happy hour
• Grading? Leave that to the T.A.
• You just walk into class, talk for fifty minutes with little preparation, then leave
• Many high-level discussions with students; everyone “finds themselves” all the while

While some of those, and more, can happen for a select few, most don’t experience this. Sure, some on the list are a little over-the-top and/or tongue-in-cheek, but it gets the point across. As for me, I’m not upset about it, but I do try to be realistic. This is no “woe is me” post. I rarely complain about teaching. At all. If I didn’t think it was worth it, I wouldn’t put in all the work. I really enjoy it and my time with my students. It’s just worth noting that a majority of the adjunct/associate/instructors you know grinding away, often happily. But grinding nonetheless. (Similarly, why else would Marc Maron have stuck with comedy after two decades of “arguable” success?)

Even though my friend David and I have never taught together, and currently teach in different states, we’re nevertheless in the trenches together. Along with a number of my other friends and colleagues.
• Many hours are put into research and lesson planning for pennies on the dollar
• We’re often teaching students who have to take and pass our courses, as opposed to students wanting to study with any of us specifically
• Almost no one comes to our office hours if there’s no exam or paper due within a week, so we grade or plan
• Grading. Grading. Grading.
• Occasionally having to teach a music class in a room with no piano, no functioning sound system, or both
• Occasionally being assigned a new/different textbook – sometimes a whole course – at the last minute

Every job has its ups and downs, and is suited for a particular temperament(s). Most jobs also have odd misconceptions of glory associated with them. Almost no one I know is doing it for the glory. They’re doing it for the work itself. Because, trenches or no, that’s often enough.

2012 Recap & 2013 Preview

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*Dusts cobwebs off*

…and the blog returns. It’s been a quiet couple months for this site, mainly because the last part of 2012 was pretty intense away from the computer. Teaching, gigging, working, etc., aside, my wife and I bought and moved into our first house. (Hence the last MTH-V post.) While it obviously wasn’t unexpected, it was much sooner than we had anticipated. At any rate, 2013 is now in full swing. But more importantly, the battery has been recharged and most unpacking is complete. I know there are some readers out there – this isn’t completely in a vacuum – so expect regular posts to resume.

2012 was a great year musically and personally. (Since this is a music-centric blog, and not a personal one or otherwise, I’ll stick to musical highlights.) Looking back:

Playing: I played a wide variety of gigs throughout the year, as usual, but a few projects are worth special mention.
• Ongoing collaboration with Matt Borghi — Matt and I continued our somewhat schizophrenic musical quest. I don’t say that as a pejorative, but with pride. We have too many interests to stick to just one bag of tricks. (Longer discussions here and here.) We played a number of shows and also released a single under our acoustic rock moniker Teag & PK. And we also continued our ambient explorations. The latter yielded a full album, Convocation, that is to be released in the coming weeks. More details quite soon as the official release nears. We’re very excited about it.
• The Fencemen — I met and started playing with The Fencemen last year. I contributed some sounds to “Rented Rooms” (on Times Are Alright – my review here) and have been playing live with them since April. Gritty rock and roll…check it out.
• White Gold Scorpio — I laid down some tracks for Halloween Island (specifically “Throw Myself At You” and “Scare You Like I Do”). This was purely studio work, as the group is based in Brooklyn. It’s a real good album and I’m glad to be a part of it.
• I bought a piccolo. 🙂 (For pit work for Annie.)

Concerts: Regular readers (and those who know me personally) know that I attend a lot of performances. Every year I see shows that especially stand out. Here are a few, a number of them being firsts:
• Einstein on the Beach — “Would it get some wind for the sailboat?” Let’s face it: I started 2012 with more than a bang. Being fortunate enough to see this live really was one of those “once in a lifetime” experiences. It’s been just over a year and I still think of it almost everyday. (And occasionally dream about it, but that’s another story…) It had a profound impact on me that I can’t really put into words. (Though I tried to gather my immediate reaction here.) Alex Ross said it best: “ecstatically dumbfounding.” No other 2012 musical experience – and few ever – even compared to this one.
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(Photo by Lucie Jansch)
• Charles Lloyd’s New Quartet — I finally saw Mr. Lloyd in Ann Arbor in April. I’ve been a longtime fan of his, so that was a real treat. I can’t think of any other musician whose lines float over the ensemble quite like his. His rendition of “Go Down Moses” still haunts me. Some thoughts here.
• James Carter, Spectrum Road, and Neneh Cherry & The Thing at Montreux Jazz Festival — Although I was initially disappointed that Tricky dropped out, this lineup blew me away in three very different ways. Furthermore, it was great to attend the Montreux Jazz Festival. But even though my show was in Miles Davis Hall, I still wish I could’ve seen the real thing, particularly this 1973 performance.
• Radiohead — Finally. They gave an impeccable performance. I was worried that my years of wanting to see them would raise the bar too high, but shattered my very high expectations. Extended thoughts here.
• Pat Metheny Unity Band and Wayne Shorter Quartet at Detroit Jazz Festival — Technically two first, but not completely. I saw part of Metheny’s Detroit show during his Orchestrion tour (I was playing at the bar downstairs, so I snuck up for a bit), and I saw Wayne Shorter with Herbie Hancock’s quartet in 2004. (The latter show was really something special.) But this was my first Metheny experience with a backing band and I hadn’t yet seen Wayne’s powerhouse quartet with Brian Blade, John Patitucci, and Danilo Perez. Both were stellar. Metheny and Chris Potter were face-meltingly good, whereas Shorter’s quartet successfully opened my third eye for a time. I’m very excited for WSQ’s soon-to-be-released third album.
• Marcus Miller — Another technical first. I saw Marcus Miller as a sideman for Herbie Hancock’s Headhunters 2005 at Bonnaroo, but this was my first time seeing his solo band, which pretty much sticks to the coasts, Europe, and Japan. (That Headhunters 2005 performance was a killer band, and one of the best things I’ve ever seen: Herbie, Marcus, Terri Lyne Carrington, Kenny Garrett, Roy Hargrove, John Mayer [as guitarist, not lead singer], Munyungo Jackson, and Lionel Loueke.) Miller’s solo band didn’t disappoint. It was funky, crunchy, and high-octane from start to finish.
• DMB (various) — Of course. 🙂 Considering there were two separate tours, I was only able to catch four shows in Saratoga, NY, Chicago, and Toronto. (Teaching abroad got in the way of a few others I would’ve seen, and I took 2012 off from The Gorge.) Many of the new songs were really gaining steam by the last time I saw the band. They never disappoint.

Albums: I need to just list them at this point – in no particular order other than the first two – or this post will never end. Again, just some highlights that were released in 2012. (NOTE: These are albums I purchased and listened to…I realize there are some I haven’t gotten around to yet.) But take note: it’s no surprise that my beloved ECM (in bold) is well represented…
Away From The World — Dave Matthews Band
Manu Katché — Manu Katché
Sleeper: Tokyo, April 16, 1979 — Keith Jarrett & Jan Garbarek
Oceania — Smashing Pumpkins
Live at the Moody Theater — Warren Haynes
Fly — Lettuce
For the Good Times — The Little Willies
The Well — Tord Gustavson Quartet
Spectrum Road — Spectrum Road
The Cherry Thing — Neneh Cherry & The Thing
Unity Band — Pat Metheny
All Our Reasons — Billy Hart
Within A Song — John Abercrombie Quartet
Swept Away — Marc Johnson & Eliane Elias
Gesualdo: Quinto Libro di Madrigali — The Hilliard Ensemble
If Grief Could Wait — Giovanni Pessi & Susanna Wallumrod
Filia Sion — Vox Clamantis

Good thing I didn’t start down the path of albums purchased (but not released) in 2012…

 

2013 PREVIEW
Looking ahead, there are some musical items worth noting:
• Convocation, my album with dear friend and partner Matt Borghi, will be released in the coming weeks. More on that soon.
• Look for some new music coming from The Fencemen.
• 2013 = 1813+200 = Wagner’s bicentennial. Yes, Richard Wagner – a “complex” figure, to put it lightly. Horrible personal qualities aside, he’s by far my favorite composer. I’m sure he’s been referenced occasionally here. (Don’t let that fool you; the love runs deep.) For instance, one of the only musical experiences comparable to my seeing Einstein on the Beach was when I saw Der Ring des Nibelungen in Chicago in 2005. Expect regular mention of him, his music, and his legacy throughout the year. I’m celebrating by going to see Die Meistersinger von Nürnberg at Chicago Lyric Opera next month, and hopefully another jaunt to Bayreuth while abroad this summer.
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• Chris Potter will be releasing The Sirens, his first ECM album as a leader. I’m very intrigued to hear what he’s like as a leader under Manfred‘s umbrella. Beyond that, ECM always releases great record, so I’m sure this year will be no exception.
• The blog will resume regular posts over the next couple weeks as this semester’s schedule settles in.