Columbia Baroque Presents “Catesby Comes to the Carolinas: A 300th Anniversary Celebration” May 10, 2022

Richard Stone

From our good friends at Columbia Baroque …

Columbia Baroque invites you to join us Tuesday, May 10 as we present ”Catesby Comes to the Carolinas: A 300th Anniversary Celebration” the final program of our concert series, “Around the Globe: Exploring Unfamiliar Territories.” Our concert is a collaboration with the Catesby 300 organization as they lead the celebration of the 300th anniversary of Mark Catesby in the Carolinas. We are delighted to welcome John Myers, historian, and guest artist Richard Stone, theorbo and lute, who joins our performers Brittnee Siemon, mezzo-soprano; Mary Hostetler Hoyt, baroque violin; Erika Cutler, baroque violin; Gail Ann Schroeder, viola da gamba; and William Douglas, harpsichord. 

The renowned English naturalist, Mark Catesby came to the Carolinas in 1722 to study flora and fauna, the results of which were included in his Natural History of Carolina, Florida, and the Bahama Islands. In addition, Catesby enjoyed singing and was especially fond of the music of Georg Frederic Handel.

Our concert will open with a delightful trio sonata by William McGibbon followed by English songs from the pub favored by Catesby as a participant. To connect with Catesby’s love of nature, we will include a section of music in imitation of birds followed by solo selections for each member of our ensemble. The program will conclude with music by Catesby’s favorite composer, Georg Frederic Handel.  

The Washington Post has described lutenist Richard Stone's playing as having "the energy of a rock solo and the craft of a classical cadenza." His recordings of the Fasch lute concerto and the complete Weiss lute concerti are available on Chandos. Other recording and broadcast credits include Deutsche Grammophon, Polygram, NPR, the BBC and Czech Radio. He has been guest soloist with Apollo's Fire, Handel and Haydn Society, Mark Morris Dance Group, the Boston Symphony and the Philadelphia Orchestra. Stone co-founded and co-directs Philadelphia baroque orchestra Tempesta di Mare and is professor of lute and theorbo at the Peabody Institute. 

A career teacher, John Myers began as an adult educator for unique groups in South Carolina: migrant and seasonal farmworkers and for state Native Americans, specifically the Catawba Nation. He retired from the South Carolina Department of Education in 2019 and is now employed as a historical interpreter at the Lexington County Museum. An avid birder, Myers is a member of the Audubon Society of Columbia and a team leader of the Catesby 300 planning committee, a group of SC state and national park administrators, statewide educators and museum administrators and historians. 

Columbia Baroque’s “Catesby Comes to the Carolinas: A 300th Anniversary Celebration” will be presented Tuesday evening, May 10 in the Recital Hall at the University of South Carolina School of Music, 813 Assembly St. in Columbia. Come early for “Concert Conversations,” hosted by scholar, Peter Hoyt beginning at 7 p.m. with the performance at 7:30 p.m.  

Tickets are $20. All students attend free. For ticket purchasing and information visit www.columbiabaroque.org. 

Midlands Area Music Students Travel with Instructor Marty Fort to Perform at GRACELAND April 6th

Wednesday April 6th, 7 p.m. music students from the Columbia Arts Academy® rock the Guest House at GRACELAND in Memphis, TN.

Home of Elvis, there’s a full two days of music from schools all over the country performing rock, pop, classical music and more April 6th and 7th. They have a 450 seat gorgeous theater on the Graceland property and our students could not be more excited to perform. The Columbia Arts Academy® students will perform Wednesday April 6th 7:00 p.m. ET and a live stream is available at www.columbiaartsacademy.com. The students range in age from 7-18 and include piano, voice, guitar, drums students rocking out classic hits at the birth place of rock and roll. Following the students, the Capital City Playboys and the Columbia Arts Academy® teachers band who performed with Kirk Hammett of Metallica at the Columbia Museum of Art in 2020 perform a full two hour set.

Marty Fort

The Columbia Arts Academy® is dedicated to showcasing their students at the top venues around the country. They’re fresh off of their standing ovation last year at the Foster Theater at the Rock and Roll Hall of Fame. The public is invited to tune in for the live stream and cheer on these upcoming artists as they play the big stage in Memphis.

Jasper reached out to Fort to get a bit more info on the upcoming adventure.

What made you choose Graceland as a destination for your students?

I’m a huge Elvis fan and a few years back they opened a new resort there the Guest House at Graceland. It has an amazing 450 seat theater (photo attached) and they allow student groups to perform. It’s the perfect venue and a part of history, so we’re all very excite about it.

What do you hope they'll take away from this experience?

The thing I didn’t expect, but I learned from the last road trip is that for many of them it’s a resume builder.

They are looking to get into college, have careers in entertainment, so for them, to perform at a venue of this caliber is huge. I would have given anything to have this kind of opportunity when I was there age. At that time in my life we were happy to just play a backyard party. But I do also have to say, Art Boerke was very good at letting high school bands play Rockafellas. My first show playing there was when I was 16

This is your second time taking your students on the road, right?

Yes, played Rock and Roll Hall of Fame Foster Theater last year, got a standing ovation from a room largely of strangers from around the country.


Do you have a third setting in mind?

Getting ready to sign the contract and will be doing the big reveal after that. All I can say is, the venue and the city are literally one of the top 3 entertainment capitals, so that can narrow down anyone’s guess.





THE BEAT: Art Bar Concert Review March 12, 2022 by Emily Moffitt

Video game track covers, electrifying synths, and rock and roll; Art Bar’s live music concert on March 12 had it all.

The night featured performances by Outer Ego, Dead Spring, Harry and the Hootenannies, and Bad Stars, giving the audience a plethora of genres and new music to listen to.

Several of the bands debuted new music they were working on, and some performed excellent covers by other well-known groups, like Outer Ego’s great cover of Daft Punk’s “Something About Us” and Harry and the Hootenannies’ getting the crowd going by performing the original Powerpuff Girls theme song.

With so much variation between each group, there was enough to go around for the crowd to enjoy and dance to. The intimate spacing of the stage to the audience in Art Bar bolstered the mood of the entire room, encouraging conversation between the performers and the crowd through the music and during breaks.

It was a great night and a fantastic concert and gives us plenty to look forward to in terms of future gigs for all of the groups involved here.

Columbia Operatic Laboratory is Back at Art Bar 3/25 - GET YOU SOME FREE OPERA!

“Not your MeeMaw’s Opera Company …”

The Jasper Project is all about bringing Art to the people. Even when we, the people, aren’t expecting it and maybe didn’t even know we were missing it.

That’s why we love the way the Columbia Operatic Lab works.

At the Columbia Operatic Lab, their mission is the demystification of opera — removing all those stuffy misconceptions that opera is only for CeRtAiN PeOpLe — i.e., the kind who can afford to put on their schmanciest clothes and don their tiaras and and cummerbunds for the occasion of listening to stories of life presented vocally.

The Columbia Operatic Lab reminds us that the history of opera is full of comedy, drama, sex, irreverence, murder, and more. At one moment opera will make us LOL and at the next if will create a lump in our throats the size of Bizet’s big toe.

What’s more, they make this oft-misunderstood art form accessible by planning free concerts at local bars and simply passing the hat to help sustain their organization.

We love this!

And we’re happy to share the details of the COL’s next venture into the beauty of opera. Here’s what they shared with us …

Columbia Operatic Laboratory is presenting a concert of operatic music at Art Bar at 6:30pm on Friday, March 25. “This is not your MeeMaw’s opera company” says Evelyn Clary, who is a board member, “We will have fantastic professionals singing dearly loved operatic pieces, but we will put our fresh and fun spin on the evening. You need not be an opera nerd to enjoy the beauty of the music and share some laughs with us.”

Even those who are not opera buffs will recognize quite a few of the tunes. There will be selections from Carmen, Barber of Seville, Pirates of Penzance, and Impresario (which will be staged by the company in May). Also, they will perform an operatic setting of a portion of Night of the Living Dead.

Joining board members Michael T. Brown and Jerryana Williams-Bibiloni are baritone Greg Pipkin and Soda City’s favorite Jezebel, TrashyAmber. Bradley Fuller will accompany them. All are alumni of the University of South Carolina School of Music. “One goal of our company,” says Brown, “is to highlight SC grown talent and to provide professional performance opportunities for local artists.”

There is no cover charge, but donations to Columbia Operatic Laboratory, a 501(c)(3) are gratefully accepted. For more information on the event, check out Facebook.com/ColumbiaOperaticLaboratory

Art Bar is located at 1211 Park Street in Columbia and is a 21 and up establishment.

THE BEAT: Local Music at St. Pat's in 5 Points by Kevin Oliver

Sure, the hype for the return of the annual St. Pat’s in Five Points festival is focused on the headliners Blues Traveler and national acts such as Surfaces, Laney Wilson, and Big Something, but what often gets lost in the coverage is that St. Pat’s is also one of the biggest local music festival opportunities of the year. Columbia bands are well represented on the main stages in 2022, and every year there are additional acts playing at unofficial side stages, local bars, and restaurants in the area, and more. To help you plan a locals-focused day at the festival, here’s a rundown of area artists and when to find them on what stage:

Villanova 

2:40 pm, Greene and Harden St. Stage 

Possibly the most popular local act to play St. Pat’s multiple times, Villa*Nova brings the noise every year. The current lineup includes founding members Bobby Dredd and DJ Able One alongside singer and guitarist Brian Conner. The band released their first new music since 2015 last year, the single “Vipers,” which revealed a commitment to a heavier sound within their melodic funk roots. There’s still plenty of the funk/rock/hip-hop hybrid left in the band’s back catalog to please their longtime fans, however.

George Fetner and the Strays

1:10 - 2:10 p.m., Greene and Harden St Stage 

George Fetner has corralled his band of musical misfits into a herd of magnanimous proportions that turns any stage into a groove-laden party. Despite the near double-digit number of band members on stage, tight arrangements make the proceedings chug along purposefully. If you’re into bands such as Lake Street Dive, or the classic jams of WAR, there’s plenty to love in the joy-filled, tuneful workouts that Fetner and the Strays produce. 

Stranger Company

12:00-12:50 Harden and Blossom St Stage

A newer presence locally, this young quartet has tapped into a jam band style of rock, blues, and jazz that hearkens back to the 70’s classic rock of acts such as Wet Willie, Santana, and Sea Level, where the grooves and the guitar licks were what mattered. 

Ashley Wright and the Vance Gap Ramblers

12:00-12:50  Saluda and Devine St Stage 

Ashley Wright and her band have managed to create twang-friendly tunes that transcend stereotypes and cut close to the emotional bone. The band’s delicate arrangements juxtaposed with Ashley Wright’s full-throated alto voice bring to mind Gillian Welch and Watchhouse. 

 

Sourwood Honey Tribute Band

7:00-8:30, Home Team BBQ Stage 

The beloved Sourwood Honey was a bar-packing mainstay of the regional club circuit in the 1990s, with the dual front of Ryan Goforth and Chris Conner and ace guitarist Herbie Jeffcoat taking on the wingman position. Their brand of jam-friendly southern country rock was always a cut above the rest due largely to Conner’s songwriting skills, showcased on the pair of full-length albums the band issued in their prime. 

Conner passed from cancer back in 2007 but a few years back most of the remaining band members reconvened around Chris’ younger brother Brian Conner (of Villa*Nova), and called it a “tribute,” with Brian taking over his late brother’s parts; the goal is to keep the memory of Chris alive and reintroduce the band’s classic songs to audiences old and new. 

 

The Ramblers

4:10-5:10, Home Team BBQ Stage 

Taylor Nicholson logged plenty of miles as the lead singer for the popular regional rock act Atlas Road Crew; this outfit aims to provide plenty of classic rock and blues vibes on familiar material.

Danielle Howle & the Tantrums

2:40-3:40, Home Team BBQ Stage

 The nostalgic aspect of this year’s St. Pat’s Festival is encapsulated in the fact that Howle, a former Columbia resident and musician who now calls the Charleston area home, was playing the festival as early as the 1990s with her band Lay Quiet Awhile. The Tantrums was her next full rock band, featuring members from another late great local act, Blightobody, and the group recorded several albums for Daemon Records in the late 1990s, gaining airplay locally and regionally with songs such as “She Has A Past.” 

 

Soul Mites

1:10-2:10, Home Team BBQ Stage

The perennial party band for many Columbia natives, The Soul Mites only come out and play any more on special occasions like this.. The gruff, insistent voice of Tim Davis may be the focal point, but his supporting cast gives him a funky soul drenched rock ‘n’ roll machine to carry his crooning to another level.

THE BEAT - Kismet Kind’s Sad Girl Rock

By Kevin Oliver

“Kismet” is the word for the Arabic concept of destiny, or fate–not the kind one is resigned to, but the kind that greets you with promise, anticipation, and the joy of discovery along the way. The Greenville duo Kismet Kind chose the word as their moniker because of a chance meeting, with joyful repercussions that are still playing out. 

“We met in a kismet fashion in downtown Greenville, through an introduction by a mutual friend,” says Corinne Twigg, who along with Ashley Piotrowski is the entire band. Corrine had a track record as a local singer-songwriter, so they connected immediately over music, since Ashley was a drummer–an instrument largely absent from the former’s then all-acoustic style. “A promise to hang out and jam together turned into a series of Sundays spent in Ashley’s music room,” Twigg says. 

The resulting collaboration intrigued both musicians enough that eventually, they decided to take things public; their first show was about a year ago here in Columbia at New Brookland Tavern–where they return this Friday, March 4th.  

So, what happens when a confessional singer-songwriter crosses paths with a rock ‘n’ roll drummer? In Kismet Kind’s case, the musical mind-meld creates a cacophony of swirling guitar sounds and crashing cymbals, underpinned by Piotrowski’s propulsive timekeeping. An audio collision of Sleater-Kinney and Speedy Ortiz, the tuneful racket supports lyrics that would still feel equally at home in a sensitive indie folk song. The more electric, eclectic sound amplifies not only the instruments, but the themes addressed in the song’s subjects.  

“We wear our hearts on our sleeves,” Twigg says. “We find the writing process to be just as healing and as cathartic for us as it is to share the finished product in a room full of listeners.” 

The duo has even coined a name, or a subgenre, for what they do– “Sad Girl Rock.” 

“That most closely describes the emotional nature of our sound,” Twigg explains. “We aren’t your typical female duo because we aren’t afraid to connect with the loneliest person in the room from our vulnerable place on stage.” 

Their star has risen quickly on their home turf, with the Upstate Music Awards nominating them for “Best Duo/Group” and “Best Live Act,” an impressive achievement for a brand-new act. 

“To be as fresh on the scene as we are, seeing our name on anything–let alone nominations for the Upstate Music Awards–floored us,” Twigg says. “What means even more is to see familiar faces at our shows; it’s amazing to feel that support and it never gets old.” 

There are no formal studio recordings of Kismet Kind yet, but the duo is working on something for release in 2022. Until then, you can hear some of their music on a livestream they did last summer with the YouTube channel At The Addition: https://youtu.be/OOfx2IohVUc

 

Where: New Brookland Tavern

When: 7:00 p.m.

With: Hillmouse, Death Ray Robin

How Much: $10

 

The Beat: Sports and Music Don't Mix--Or Do They? Tales of Sports Related Gigs Gone Wild By Kevin Oliver

Sports and popular music have a long, intertwined history, from Super Bowl halftime shows to the Beatles playing Shea Stadium, longtime home of the New York Mets and the New York Jets. (And who can forget the “Jock Jams” phenomenon?”) On a local level, the relationship tends to be one of competing for audience attention, as the screens in the bars got bigger and the stages got smaller. Being in a college town like Columbia makes it especially challenging for bands booking gigs on game days. On one hand, the venues are full of customers, drinking, eating, and a captive audience for the lucky band on the calendar. On the other hand, that audience is there for the game, not the music, usually, and that can present challenges that make it a less than great experience for the musicians just trying to do their job.

Kevin Pettit, currently of the band 48 Fables, has been around the local scene for years and originally gained some notoriety as a member of Celtic rockers Loch Ness Johnny, where he had his own memorable sports vs. music moment.

“We were playing at the Flying Saucer in Columbia on a college bowl game weekend, and it was packed–I think it was Florida playing someone I can’t recall,” He says. “The big screen television in the bar was facing us on the other side of the room from the stage, and somehow we were able to time several song endings to coincide with a touchdown being scored in the game. So, when the crowd went crazy because someone scored, we took a bow and thanked ‘the great audience.’ It was good, silly fun.”

Not much has changed, according to Chris Reed, who plays both cover gigs and original music with his band The Bad Kids. “I played during the last Clemson-Carolina football game,” He says. “There was definitely a lot of oddly timed applause, which is awkward as hell but in the end it’s all just part of the job.”

It isn’t just football fans who can initiate some great sports-related gig stories, though. Bassist and guitarist Darren Woodlief, who has played around town with numerous acts, remembers an early gig with his rock band Pocket Buddha as an especially memorable evening.

“The band was me, Dave Britt, and Zack Jones, and this was our first sort of out of town gig over in Camden for the Carolina Cup steeplechase race day,” he says. “We were at a bar downtown that was a welcome respite for many very drunk folks who'd been out in the sun all day, a good number of whom may not have actually seen a horse. We played all the cover songs we knew and at the end of our 3 hours a small group of equine enthusiasts were not ready for the party to be over. After some negotiation, we agreed to play another 30 minutes for $50 bucks each. Rejuvenated by the bonus and the chance to again play the songs we knew best, we did our thing and left feeling exhausted but grateful.”

Just like not every game can end in a win for your team, not every gig on a game day turns out great. Josh Roberts, who has toured with his band The Hinges for years throughout the southeast and beyond, can attest to how bad timing can ruin a gig.

“The Hinges were playing Tasty World in Athens, Georgia on the night of the Carolina/Georgia game, maybe 2008 or 2009. It was a solid lineup, all the other bands were from Athens, and everyone was having a good time, hanging around the venue all evening, excited about the show.  Then, what wasn’t supposed to happen did, and the Gamecocks beat Georgia in an ugly game. We watched it at the venue, and at the end you could feel all the air let out of the town. It felt bad everywhere. The show was totally deflated. Hardly anyone came, and that strange feeling in the air just stuck around.” 

The Hinges’ bad luck followed them home in 2010, he adds.

“During the 2010 SEC championship with Auburn and Cam Newton vs. the Gamecocks, the same thing happened in Columbia. We were playing The Five Points Pub, which we had been reliably packing full of folks. We sound checked early because of the game, went elsewhere to watch it, and when it was over we could just feel it then, too. City deflation. Very small turnout and a strange feeling over everything.”

It wasn’t all bad for the band in either case, however, as non-football fans who are fans of a band don’t really care who won or lost, they just want to see their favorite band play, Roberts notes. “I will say that in both those cases a bunch of serious music fans came late and had a good time. I got the feeling a lot of those folks were anti-sports in general, and were pointedly not going to let something like that mess with their show.”

And then there are the experiences that have nothing to do with the game outcome or the distracting televisions. Sometimes it’s just professional musicians trying to get things done, and they wind up improvising.

Fiddler Jim Graddick remembers a 2013 incident where he was invited to play the Carolina/Clemson halftime show at Williams-Brice Stadium with banjo legend Randy Lucas.

“It was Dick Goodwin’s idea to have a bluegrass band play ‘Dueling Banjos’ with the Carolina band,” Graddick says. “They let us in without tickets since we were with the marching band, and when I went out to use the restroom about halfway through the second quarter, security wouldn’t let me back in since I had no ticket. I explained that I was playing the halftime show, to which the guard flatly responded, ‘Yeah, sure–me too.’” 

Of course, there are many musicians who are also big sports fans–who can forget the famous line in Hootie & the Blowfish’s hit song “Only Wanna Be With You” where Darius Rucker namechecks his favorite NFL team with the line “You wonder why I’m such a baby, ‘cause the Dolphins make me cry.” 

Patrick Davis is a well-known Gamecock supporter, writing and releasing several classic song tributes to USC sports teams. His sound and production crew lead of choice, local audio engineer Wayne Munn, remembers how they would sometimes have to make allowances for those gigs that clashed with USC game times. “We did a show at (NASCAR driver) Michael Waltrip’s house the day of a Carolina/Clemson football game with Patrick and the band,” Munn says. “We set up iPads behind the edge of the two front walls of the stage, so the band could watch the game as they were performing.”

So, wherever you choose to watch the Super Bowl this week, or any other major sporting event, if there is a local band playing there at the same time you should at least try to applaud at the right time–and drop in an extra tip, as the musicians are working a little harder than usual to have a good gig.

Don't Miss Complexions Contemporary Ballet at Harbison Theatre!

One thing that anyone who knows anything about professional dance can agree on is that Columbia does not have enough contemporary ballet. Between the Tutu Wars and our dance scene being frozen in a time when full length fairytale ballets ruled the day, (read: the 1980s), we typically only get to see what the rest of the world of dance audiences sees when City Ballet does Body and Movement Explored (coming up soon!) or when the new Columbia Rep Dance Company performs.

Thankfully Harbison Theatre at Midlands Technical College, under the direction of Kristin Wood Cobb, has a place in its heart for progressive and cutting edge performing arts, including dance!

Coming up on Friday February 19th and for one night only, Complexions Contemporary Dance Company will perform “Stardust: From Bach to Bowie” at Harbison’s state-of-the-art theatre, just off the highway in Irmo.

Rescheduled from the 2019-2020 season, Complexions presents Stardust From Bach to Bowie as a tribute to two fantastic artists who each founded his own musical hemisphere. The show includes "Star Dust," dedicated to the one and only David Bowie, plus an additional repertory set to music by Johann Sebastian Bach. This world-renowned company has been featured on So You Think You Can Dance in the U.S. and Australia.

Complexions was founded in 1994 by Master Choreographer Dwight Rhoden and the legendary Desmond Richardson with a singular approach to reinventing dance through a groundbreaking mix of methods, styles and cultures. Today, Complexions represents one of the most recognized, diverse, inclusive and respected performing arts brands in the World.  Having presented an entirely new and exciting vision of human movement on 5-continents, over 20-countries, to over 20-million television viewers and to well over 300,000 people in live audiences, Complexions is poised to continue its mission to bring unity to the world one dance at a time. 

Complexions has received numerous awards including The New York Times Critics’ Choice Award. It has appeared throughout the US, including the Joyce Theater/NY, Lincoln Center/NY, Brooklyn Academy of Music/NY, Mahalia Jackson Theater for the Performing Arts/New Orleans, Paramount Theatre/Seattle, The Music Center/Los Angeles, Winspear Opera House/Dallas, Cutler Majestic Theater/Boston, New Victory Theater/NY, and Music Hall/Detroit, The Bolshoi Theater, The Kremlin, The Mikhailovsky Theater, Melbourne Arts Center, and will make it's debut at the Kennedy Center in 2017, as a part of Ballet Across America.​

The Company has appeared at major European dance festivals including Italy’s Festival of Dance ,the Isle De Dance Festival in Paris, the Maison De La Dance Festival in Lyon, the Holland Dance Festival, Steps International Dance Festival in Switzerland, Łódź Biennale, Warsaw Ballet Festival, Kraków Spring Ballet Festival, the Dance Festival of Canary Islands/Spain, and the Festival des Arts de Saint-Sauveur/Canada. 

In addition, Complexions has toured extensively throughout the Baltic Regions, Korea, Brazil, Japan, Egypt, Israel, Russia, New Zealand, Bermuda, Serbia, Jamaica, and Australia. 

The company’s foremost innovation is that dance should be about removing boundaries, not reinforcing them. Whether it be the limiting traditions of a single style, period, venue, or culture, Complexions transcends them all, creating an open, continually evolving form of dance that reflects the movement of our world—and all its constituent cultures—as an interrelated whole. 

In 2006, Complexions held their first Summer Intensive program, serving 80 students in its first year. The program has grown to multiple cities and serves over up to 600 students annually. Since 2009, a Winter Intensive was added to the roster, serving an additional 400 students, and CCB added its Pre- Professional Program in 2016.  Complexions’ artistic directors and company members teach master classes throughout the world, sharing the Complexions technique with dancers of all levels.  

Together, Rhoden and Richardson have created in Complexions an institution that embodies its historical moment, a sanctuary where those passionate about dance can celebrate its past while simultaneously building its future. In the 27 years since its inception, the company has born witness to a world that is becoming more fluid, more changeable, and more culturally interconnected than ever before—in other words, a world that is becoming more and more like Complexions itself.

~~~~~

Before they take the stage at Harbison Theatre at Midlands Technical College on February 18, the phenomenal dancers of Complexions Contemporary Ballet (CCB) will be in residence!
 
Dancers from the internationally renowned company will teach two 90-minute advanced master classes for advanced dancers from 1:30pm - 3pm. HT@MTC has partnered with the University of South Carolina to host the classes at the UofSC dance studios. The two classes will run concurrently and will be taught by Jillian Davis and Simon Plant of CCB. In addition, a workshop relating to Complexions' repertory and performance style, as well as topics such as improvisation and composition will be offered. Classes are open to University of South Carolina dance students.  For more information, please contact the dance program at dance@sc.edu

Dancers from CCB will also teach two 90-minute community/intermediate classes for dance school and some high school students from 3:30pm - 5pm. These classes will also take place at the UofSC dance studios. The two classes will run concurrently and will be taught by Timothy Stickney and Larissa Gerszke of Complexions. In addition, a workshop relating to CCB repertory and performance style, as well as topics such as improvisation and composition will be offered. Please sign up using the form below for more information about this class. There is no charge for the classes; however, dancers will need to sign waivers and wear a mask while in class.

Master Class: 1:30pm to 3pm | Friday, February 18

Community/Intermediate Class: 3:30pm to 5pm |  Friday, February 18 (register here)

THE BEAT - Turbo Gatto: Purr-fectly Good Mewsic

By Emily Moffitt

Kevin Jennings and Gina Ercolini are Turbo Gatto - photo by The Wolf

Ever heard of “Cat Rock”? The creativity of guitarist Kevin Jennings and drummer Gina Ercolini, under the band name Turbo Gatto, originally invented the genre to adapt the lyrics of Motorhead songs to be about cats. 

“It was a blast and a lot of laughs for a second, but it led us to discover our own idea,” she adds, “Original garage rock/punk music with lyrics about anything related to cats.”

It has been an entertaining formula, and with musical inspiration from the Cramps on the two-person band’s new album “Bad Mewsic For Bad Cats” they have built upon the original foundation of Stooges power, AC/DC riffs, and Ramones frenzy that have informed the project from the start. It’s all about the riff, Ercolini admits. “A good riff is almost always our starting point; we trust each other to follow where the music takes us from there.” 

They are fully invested in the genre they’ve pioneered, utilizing the self-proclaimed “cat life and love of rock and roll” to not only build their sound, but engage audiences. Their most devoted fans can be seen at shows sporting their best sets of cat ears, willing to play along with the feline frenzy happening on stage. Playing for the fun of it is one of the guiding principles of Turbo Gatto, and it offers Jennings and Ercolini a respite from their other bands, which include MNRVA, and a way to spend more time together making music–they’ve also been a married couple since 2016.  

“We met at karaoke at Art Bar and somehow decided that we had all we needed to start a band,” Ercolini recalls. “We held our first practice three days later and have been inseparable ever since.” 

Turbo Gatto purrs loudest in a live setting, and Jennings and Ercolini are both happy to be back in that environment. 

“Our live shows are always a bit chaotic and teetering on the brink,” Ercolini says. “It takes a certain kind of energy and focus in the moment to hold everything together–it’s both exciting and terrifying.” 

Over the pandemic months, the bandmates used the down time from live shows to write as much new music as they could, and experiment with different influences, but they found that their basic methods of working, and recording, didn’t change much. When it came time to record the new material for a proper album, they also chose not to change anything there. 

“We record everything with Jay Matheson at the Jam Room Recording Studio,” Ercolini says. “He’s spectacular in guiding us to produce the best record we can in a matter of only two days spent in the studio.” The results, she adds, are meant to be fun, no matter how good the playing or the recording process makes them sound.

“One thing you cannot do when playing in a cat rock band is take yourself too seriously,” she concludes. “This is the kind of record you can listen to while driving around town or jumping up and down on the bed eating pizza.”            

The album release for “Bad Mewsic for Bad Cats” will be held at Art Bar on Saturday, February 12th at 7 PM. Also, on the bill in addition to Turbo Gatto are The Transonics, The Buzzards of Fuzz, Warfare Check, and the Black Stare of Soledad Miranda.

THE BEAT is a rotating lineup of music coverage under the direction of Jasper Magazine music editor, Kevin Oliver, that includes local album reviews, in-depth artist interviews and profiles, live show reviews, and all things related to local music in the greater SC midlands area arts community. If you have story ideas, or you’re a local musician, band, or involved with a local project that you think deserves some attention, drop Kevin a line at kevingoliver@gmail.com

Jasper Chats with Beethoven & Blue Jeans Special Guest Violinist - Rachel Lee Priday

The South Carolina Philharmonic presents Beethoven & Blue Jeans January 15, 2022 at 7:30 PM at the Koger Center for the Arts. This annual event is often the highest-attended concert for the orchestra each season, and this year’s installment features a blockbuster lineup of Beethoven’s Symphony No. 7 in A Major, Barber’s Violin Concerto, op. 14 and Carlos Simon’s contemporary composition Fate Now Conquers. The Barber will feature critically-acclaimed and internationally-known guest soloist Rachel Lee Priday on violin. All concerts this season are presented in person and livestreamed.

Barber’s Violin Concerto and Beethoven’s Symphony No. 7 were originally slated to be performed in January of 2021, but due to the orchestra’s need to pivot programming due to the pandemic, these pieces were postponed and programmed for this season’s Beethoven & Blue Jeans. Music Director Morihiko Nakahara was drawn to the exuberance and excitement of the Beethoven symphony paired with the lyricism and melancholy of the first two movements of the Barber concerto.

Guest violinist Rachel Lee Priday will be performing the Barber concerto with the SC Phil. As an artist who has toured internationally, she has been profiled in The New Yorker, The Strad, Los Angeles Times and Family Circle. Priday previously performed the Barber concerto with the SC Phil during the organization’s music director search which began in 2007. When Nakahara met Priday in Maine last season, he was enthusiastic to bring her back to Columbia for this season’s Beethoven & Blue Jeans.

The concert will open with Carlos Simon’s Fate Now Conquers. Commissioned by the Philadelphia Orchestra in 2020, Simon composed this piece as a direct response to Beethoven's Symphony No. 7, utilizing Beethoven's harmonic gestures in the 2nd movement of the symphony. The title, a quotation from Iliad, was found in one of Beethoven's journal entries. “Simon's piece is brief - around 5 minutes,” said Nakahara, “yet it packs so much power and drama. It is going to provide a perfect opener for this program.”

Jasper had the opportunity to chat with Priday about her upcoming show, which will be the third time the musician has performed with the SC Philharmonic. The first time was in 2005 when she performed the Bach Concerto with Nicholas Smith. In 2008 Priday performed the same piece she will be bringing back to SC for Beethoven and Blue Jeans on the 15th: the Barber violin concerto. Priday says that she is excited to be working with SC Philharmonic music director, Morihiko Nakahara, for the first time.

Priday studied with world famous violinist Itzhtak Perlman as a child and young adult, and continues a relationship with the conductor today. “He is an amazing human being,” she says of Perlman. “He is my favorite violinist, a huge mentor to me, and part of my life.”

Priday attended Perlman’s summer camp at Shelter Island on Long Island from age 13 to 18, and has continued to work and meet with artist as often as possible since her youth. “He has had a huge impact on my life,” she says.

Now the mother of a 4-year-old and a 10-month-old, Priday moved to Seattle in 2019 where she frequently performs locally , as well as traveling to perform in non-pandemic times.

She is looking forward to performing Samuel Barber’s Violin Concerto No. 1 in C minor, op. 35 because it is “such a poetic work – the 3rd movement is a bit crazy – the orchestral part is quite challenging as well, both musically and artistically. The challenge is in capturing the beauty and color of this work. Every phrase is shaped in a really subtle nuanced fashion.”

“When I’m playing my mind and heart are all about showcasing the musical quality of this piece.”

The concert is Saturday, January 15th at 7:30 pm at the Koger Center for the Arts

Tickets are available from the SC Philharmonic.

~~~

More About Samuel Barber

from the SC Phil

Concerto for Violin and Orchestra, Op. 14                                              Samuel Barber                                                                                                                            1910-1981 

In early 1939, Samuel Fels, a wealthy Philadelphia soap manufacturer, commissioned Samuel Barber to write a violin concerto for his protégé, the young violinist Isaak (changed to Iso) Briselli. Barber’s commission was a hefty $1000 and he received half of it in advance.

This was Barber’s first major commission, and he immediately set out to fulfill it. But commissions, while usually sought after by composers, clearly carry their own conditions and risks. Things did not go according to plan, and what actually happened became a Cause célèbre. Since all the protagonists have died, it remained for a paper trail to ascertain whose version was the true one. In the process, a lot of egos got nicked.

According to Barber’s biographer Nathan Broder, by the end of the summer of 1939 the composer sent Briselli the first two movements, written in a conservative lyrical and romantic style. Briselli, however, considered them “too simple and not brilliant enough” and refused to accept them. Barber supposedly took his revenge by making the third movement fiendishly difficult. When he resubmitted it, Briselli declared it unplayable, and Fels wanted his advance commission back. At that point in the story, Barber summoned Herbert Baumel, a young violin student from the Curtis Institute of Music and an excellent sight-reader, and gave him the manuscript and two hours to prepare. Accompanied by a piano, the student supposedly demonstrated that the movement was indeed playable. The unanimous verdict was that Fels had to pay the rest of the commission. Barber, however, forfeited the second half and, in exchange, Briselli relinquished his right to the first public performance and never performed the concert in public.

Briselli, some 40 years later, told a different story, and a paper trail collected by his friends and supporters has essentially corroborated his account. According to Briselli, he was enthusiastic about the first two movements but his violin coach, Albert Mieff, was not and even wanted to rewrite the violin part so that it would be more in keeping with the technical expectations for a concerto, citing Brahms collaboration with Joachim as a precedent. Moreover, Briselli found the third movement too lightweight – rather than too difficult – and suggested that Barber expand it. The composer refused and he and Briselli mutually decided to abandon the project with no hard feelings on either side. For a while there was even talk of Briselli suing Barber for defamation of character over the composer's version of the controversy. (A full account of Briselli's side can be found on his website www.Iso Briselli.com.) 

The Concerto was finally premiered by Albert Spaulding with the Philadelphia Orchestra in 1941 and was a popular success from the start. The first movement, Allegro, opens with an expansive, lyrical theme on the violin alone. The second theme, introduced by the woodwinds, continues the romantic mood although it is syncopated and more rhythmic. The whole tone of the movement is that of a quiet discussion, with only occasionally raised voices in the middle, and ending in a tranquil whisper.

An extended cantabile oboe solo over muted strings opens the aria-like second movement. The violin eventually enters with a second theme that develops the mood introduced by the oboe. The violin then returns to the opening melody, rising to a climax, after which the quiet mood of the beginning returns.

The terse and fiery rondo Finale, Presto in moto perpetuo, creates a stunning contrast, placing tremendous demands on the soloist, who has to play at a breathless tempo for 110 measures without interruption. Throughout the perpetual motion, Barber subtly changes the meter and every so often inserts a jazzy syncopated refrain.

Rhodes Bailey and the Frosty Four bring you Columbia's newest Christmas song

“Climate Change don’t take my Christmas away”

We were delighted when Columbia attorney, musician, and former SC house of representatives candidate Rhodes Bailey shared one of his new projects with us – a powerful, yet fun new Christmas song – and could hardly wait to share it with you. We asked Bailey a few questions about the project, and he graciously shared how and why Climate Change is Killing Christmas” came to be: 

 

Jasper: What was the impetus or inspiration for this song?  

Bailey: My good friend Jake Erwin (whom I gig with from time to time) texted me not long before Thanksgiving and said we should record a Christmas song. I thought to myself "what if someone did a Christmas song about how it's too hot at Christmastime now because of climate change? No snow, no crisp air, etc., and the singer is pining for cold weather."  The more I thought about Christmas imagery, the more I thought about how 80-degree weather spoils the  mood. I sat down and banged this out in about 30 minutes. I sent an acoustic demo to Jake who laughed and said, "Oh man, I just meant we should cover 'Jingle Bell Rock' or something. I didn't know you were going to write a song."   

 

Jasper:  Are there more like it -- is this part of a collection or a solo piece? 

Bailey:  This is a solo piece for now. There's a pretty small window for holiday songs (between Thanksgiving and Christmas), so I had to record it, shoot the goofy video, and get it out fast. I'm at an age now where I only write lyrics when I have something original to say. I make up instrumental music all the time, but only spend time on lyrics if an idea strikes me as particularly interesting and I want to share it.

 

Jasper: Who are the Frosty Five

Bailey:  Spencer Collins (drums and backup vocals) 2) Jake Erwin (keyboards and jingle bells) 3) Evan Simmons (bass) 4) Zac Thomas (expert producer and sound engineer at the Jam Room in Columbia, SC) and 5) Me (12 string Rickenbacker guitar* and vocals). It should really be "Rhodes Bailey and the Frosty FOUR", but FIVE sounded better. We worked hard with Zac to get a vintage Christmas studio sound, like the ‘60s girl groups from the album "A Christmas Gift for You from Phil Spector" (which everyone should check out by the way) or the Mariah Carey classic. 

(editor’s note — we hear these words when we read them in the late great Tom Petty’s voice. If you know, you know.)

 

Jasper:  Was this just for fun or is there a serious motive involved? 

Bailey: This is for fun, but obviously climate change is serious and it's on our minds. I try not to be heavy-handed with lyrics. People respond better to humor than preachiness. An unseasonably warm Christmas is a bummer for everyone - even for folks like us in South Carolina that don't see much snow. It didn't snow a ton when I was a kid, but I remember having a white Christmas when I was in the fourth grade and that was "peak Christmas" for me. No subsequent Christmas could match it. As I grew up, my standards lowered to a "chilly Christmas."  Now we have to settle for "Not-hot Christmas."  We've seen 80-degree Decembers and they are a total buzz kill. The character in this song is lamenting the loss of a wintery holiday season but is still an optimist. He/she is holding out hope that snow and cold weather will return just like Darlene Love does for her baby in "Christmas  (Baby Please Come Home)".