Tuesday, February 24, 2004

Arts & Entertainment writers offer capsule comments on this, that and the other thing ...

Conor Oberst/Jim James/M. Ward

Jim James asked us Sunday night to pretend we were in Carnegie Music Hall, where he had been earlier in the day and had marveled at the ceiling "beyond compare."

Like many places, it would have been better than a sold-out Club Laga for three guys with acoustic guitars. The brave trio had to compete with an active "talking section" in a crowded, smoky room.

James cut through it with a beautiful siren call of a voice. Bright Eyes' Conor Oberst did it with amazing lyrical flow. And being a lesser known, more modest talent, M. Ward, was buried by the crowd.

The three singer-songwriters are on a rare acoustic tour that finds them performing in various combos, with help from a multi-instrumentalist. Going on before the scheduled show time, Ward played a short set that should be repeated some day in quieter confines. His raspy, understated delivery was hard to appreciate, though "Vincent O'Brien," with help from James, was a standout.

James is used to singing over the guitar clatter of My Morning Jacket and could probably sing over fireworks. He has the kind of high, haunting voice -- think Neil Young, but better -- that will one day be the perfect soundtrack for a Civil War film. He might not match Neil as a writer, but it doesn't really matter what he's singing -- songs like "At Dawn" and "Bermuda Highway" were breathtaking.

Watching Conor Oberst it's almost impossible to keep the words "new" and "Dylan" out of your head. He has a compelling talk-sing that is, by turns, sweet, menacing and full of protest, and his fans -- 97 percent of them -- hang on his every word. And it's worth it when, with his remarkable phrasing, he spins off gems like "If I could scream at myself, like I was somebody else" and "If you're still free, start running away."

Oberst pulled out favorites like "Waste of Paint" and "Soon You Will Be Leaving Your Man" and previewed songs that we can only hope will be coming out soon. Next time, maybe we'll hear them in Carnegie Music Hall ... or at least the Byham.

-- Review by Scott Mervis,, Pittsburgh Post-Gazette

The King's Noyse

This wasn't a recital by renowned soprano Ellen Hargis, but it might as well have been. Despite all the early-music luminaries in the King's Noyse, starting with director and violinist David Douglass, she starred. Her moving performance at Synod Hall on Saturday night of a half-dozen or so popular Parisian songs from the 16th century didn't just enthrall, it converted. I've always ranked the polyphonic music of this century first, the instrumental dances second and the popular song a distant third. Whether with the full string ensemble or more intimately with lutenist Paul O'Dette, she made a compelling argument for the depth and power of these minstrel songs in this Renaissance & Baroque Society concert.

Although Hargis' voice lies in a different range and she specializes in early music, her ability to convey the essence of a line of text reminded one of the great mezzo-soprano Janet Baker. Hargis' bright but round voice hinted at the sublimity of a countertenor while fully imparting the expressivity of lieder singer. In the lively "Ton amour ma maistress" it soared; in two gorgeous laments, it wept. Hargis' diction was impeccable, but it was her sensibility to the relationship between music and text that fused them together, and to the listener's ear.

Apart from the usual solo brilliance of the bountifully bearded lutenist and guitarist O'Dette, whose ample musicality made even his tuning enjoyable, the instrumental performances were dry in comparison to Hargis'. Perhaps because much of it was background and dance music, the performances by the five string players of pieces by Phalese, LeRoy and others lacked verve and interest, though their blended timbre was admirable. In the context of early music -- not compared to the 19th century -- the phrasing was just too safe. Only when a piece such as two instrumental versions of the song "Susane un jour" by Rore and Lassus forced musical contours on the players did they fully incorporate them.

-- Review by Andrew Druckenbrod, Post-Gazette classical music critic

Music director search

There's added competition for the Pittsburgh Symphony Orchestra's music director search: Daniel Barenboim is stepping down as music director of the Chicago Symphony Orchestra in 2006.

The 61-year-old conductor will have spent 15 years with the esteemed orchestra at that point, marking one of the longer tenures in its history. Barenboim cited increased administrative duties of running and promoting an American orchestra in his decision, making it unlikely he will throw his hat in the ring for the PSO vacancy, although he performs with the orchestra March 2 at Heinz Hall (playing the Brahms piano concertos).

-- Andrew Druckenbrod, Post-Gazette classical music critic

Graffiti Rock Challenge

With a rural drawl belying strong song construction, The Rockwells rocked well enough Saturday to win the third semi-final of the 2004 Graffiti Rock Challenge at Mr. Small's Theater in Millvale.

The contest continues Saturday at 8 p.m. with Usual, the Legendary Hucklebucks, Ford Thurston and Good Brother Earl. The Rockwells will join Alisium, Mark Scheer & the Discount Stars and the winner of this week's show in the finals March 13.

All ages, $9 advance and $10 at the door for semi-finals, $13 and $15 for finals.

For information, call 412-323-1919.

-- By John Hayes, Pittsburgh Post-Gazette

Maxine Hong Kingston

Maxine Hong Kingston’s latest book, the hybrid fiction-nonfiction, “The Fifth Book of Peace,” sprung from the ashes of her San Francisco area home, destroyed by 1991 wildfires. Also lost was a novel, “The Fourth Book of Peace.”

“I could no longer read or write” in the aftermath of the fire, Kingston told the Drue Heinz Lectures audience last night. “Fiction is a compassionate art form and I could only think of myself,” she said.

She found her voice by creating a “community of writers,” mostly Vietnam War veterans, whom she encouraged to write about their experiences.

Kingston combined recollected bits of her destroyed novel with works by the vets written over eight years of workshops to create her new book.

A small woman with flowing white hair, Kingston delivered her version of the traditional Chinese “talk story,” a somewhat rambling collection of anecdotes about her childhood in Stockton, Calif., the daughter of refugees who fled the Japanese occupation of China.

Her quiet manner and gentle voice created a drowsy atmosphere in the drafty Carnegie Music Hall, but she opened eyelids with her account of a peace march last March in Washington, D.C.

Many writers took part and many were arrested, including Kingston and Alice Walker.

At the jail, a black policeman was shaking his head. “My wife is going to kill me when she hears I arrested Alice Walker,” he said, according to Kingston.

-- Review by Bob Hoover, Post-Gazette book editor

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