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Claremont_O_House
October 15, 2010 Review by Susan Capestro

Ever wonder where your musical values came from? The concert programs I like generally respect what came before, honor local composers, bring new pieces to light, give the audience a varied program they can really enjoy, and then even enhance it with narration and/or slides. That's why the Connecticut River Valley Orchestra's recent concert, Music of the Gilded Age 1885-1910, Celebrating the 125th Anniversary of the Cornish Colony, was such a treat! It also left me with little doubt about a significant source of many of my firmly held tenets of music and education. When my former french horn teacher, Ginger Culpepper, its personnel manager, and her husband, Max, its conductor, told me about this concert, I thought it sounded like fun, and indeed it was!

"What? Another symphony concert?" ...I hear you say. "You just liked it because they're your friends." Well, perhaps I am biased. However, ask yourself this: have you ever avoided orchestra performances, not wanting to be bored to tears by umpteenth performances of lengthy old hackneyed symphonies and the like? Or been embarrassed too many times by certain watered-down, overly-dramatized and schlocky pop arrangements? Have no fear, the Connecticut River Valley Orchestra will not deliver either of those orchestral nightmare scenarios. You see, it's a whole different world at the Claremont Opera House. Instead, you will experience the CRVO's characteristic warmth, quality, variety and top-notch programming, from which you will actually learn something, while being entertained!

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TxtDanceFeet
May 3, 2010 Review by Susan Capestro

Every once in a while, a musical performance is so perfectly in sync with the philosophy of Integral Teaching, blogging about it seems mandatory. It happened last fall, after Paco Peña's flamenco concert at the Berklee Performance Center, and again this past weekend, when Pandit Chitresh Das (b.1944) and Jason Samuels Smith (b.1980) performed India Jazz Suites: Kathak Meets Tap, at the Institute of Contemporary Art in Boston. In my studio, we enjoy using syllables from India like ta, ka, di, mi, for practicing rhythms in all kinds of music, so Pt. Das and Smith's artful blending of tap dance and Kathak dance of northern India was a special treat. Never before have so much intricate and sophisticated mathematics been so entertaining!

A jazz trio (Theo Hill, piano, Sameer Gupta, drums, Aaron James, bass) performed the opening number from their stage position at house right. Enter Jason Samuels Smith, friendly, casual, unassuming, inviting the audience to give feedback during the show, positive or negative. During his first "a cappella" solo and ensuing spectrum of jazz, funk and hip-hop ensemble numbers with the band, it was easy to oblige. His shoes took on multiple personalities, scraping the floor like a turntablist scratches a record, sliding in unison with the upright bass' bent pitches, and "trading fours" with the band like an instrumentalist. At one point, this tall, powerful Smith shared the secret of one of the meters with us, something like "half 1,2,3,4,5, half 1,2,3, half 1,2,3,4,5,6,7, etc." ...No wonder I couldn't figure it out! Smith's insightful rapping, range of expressive shoe dynamics, articulations both smooth and staccato, and "duets" with the fabulous trio were all spectacular and jaw-dropping. Smith told the story of how he met Das at the ADF's Festival of the Feet. Then the stage transformed...

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