Trumpeter Dave Douglas prepared to play his mom’s funeral by arranging the hand-picked hymns and Bible verses she wrote down on a scrap of paper and gave to him.
“I didn’t do too much to them,” Douglas said, whose jazz can edge toward the avant-garde at times. “I thought these are pretty straight-ahead renditions of these hymns.”
Douglas’ Brass Ecstasy band -- with the New Orleans-type front line of trumpet, French horn, trombone, and tuba, plus drums -- was the group he picked to play his mother’s chosen hymns at the funeral, with the sung verses handled by the church’s congregation.
“We got to the service and we go through the first chorus,” Douglas said, “and I turned around to hand it to the congregation and they’re all just looking at me like, ‘Whaaat?’ It was way over their heads. We had to totally adapt and have the [church’s] organ player come help out.”
He laughs about the event now, but that was a tumultuous period for Douglas.
Shell-shocked people sit around a campfire discussing a favorite episode of TV series. They try to remember each detail to amuse each other and as a distraction from the problems all around them. The world has been thrown into darkness following a worldwide catastrophic event and stories are all that remain.
This is the premise of Anne Washburn’s Mr. Burns, A Post-Electric Play, opening February 16 at the University of Michigan’s Lydia Mendelssohn Theatre.
“It’s a postmodern play, a pastiche of forms and thematically it goes to the heart of what it means to tell stories, why human beings tell stories,” said Daniel Cantor, the play’s director and head of performance for theater at the university’s School of Music, Theater, and Dance. “Why they need stories, why stories evolve and change across time but have different meanings for people in different contexts.”
Art is everywhere in this town; you just need to know where to look. The Niceland art show, a pop-up exhibit that took place last weekend, is a perfect example of how tucked away spaces can be transformed into showrooms for painters and sculptors.
The Tiny Buddha Boutique was previously above Totoro at 213 S. State Street. But the shop, which specializes in yoga wear, recently moved to a new location inside Babo in the Nichols Arcade, though Tiny Buddha still has rights at the moment to use the old space.
"We wanted to take advantage of the space while it is available," said artist Helen Gotlib (sister of Tiny Buddha Boutique owner Risa Gotlib) to display works by local artists.
That led to the Niceland art show, which ran February 10-13. The show featured work from local artists Dylan Strzynski, Lavinia Hanachiuc, and Gotlib.
When Lauren London started the Penny Seats Theatre Company in 2010, it was with the idea that Ann Arbor should be brimming with “high-quality, live theater that doesn’t break the bank.” That’s exactly what you’ll get if you see the new Kander and Ebb revue Sing Happy! -- Penny Seats' first show of its 2017 season -- playing in the Celtic Room of Conor O’Neill’s pub and restaurant on February 9, 14, 15, and 16.
For those of you who aren’t familiar with the work of Kander and Ebb, they wrote the musicals Chicago and Cabaret, among many others. The four women who star in this revue are remarkably gifted, and the songs and arrangements that director Thalia Schramm chose are consistently beautiful, moving, and show-stoppers.
I’ve now seen Sing Happy! twice and recently asked producer Lauren London and director Thalia Schramm some questions about the production and the Penny Seats Theatre Company's upcoming season.
If there's any doubt what Detroit musician and performance artist Duane Gholston is up to with his new look and sound, the snippet from a Don King speech that opens his recent single, "When the Eel Accepts Your Invitation" is a pretty solid clue.
"You got to try to imitate and emulate the white man, and then you can be successful," the notorious boxing promoter -- and Donald Trump supporter -- is heard saying, before a classic honky-tonk shuffle and meandering lap-steel lick ushers in Duane the Jet Black Eel, the 24-year-old's latest persona and "first truly conceptual project."
"It's a young queer person of color taking on the classic vision of America (when it was 'great,' according to some red hats, LOL)," Duane wrote in an email to Pulp. "A bunch of rock 'n' roll songs taking on both conservative and neoliberal politics, homophobia in the black community, and systematic racism in America."
Singer/songwriter Timothy Monger's career peaked in middle school.
Despite three albums during a decade-plus run with the acclaimed folk-rock band Great Lakes Myth Society and a solo career that has also produced three records, including the new Amber Lantern, Monger said the loudest cheers he's ever received was when his middle school band, All the Young Dudes, rocked his former elementary.
Perhaps Monger's fans will take that as a challenge and make some noise when he celebrates the release of Amber Lantern at The Ark on Wednesday, February 8 at 8 pm. (Caleb Dillon of Starling Electric will open.) The album is slightly more rock-oriented than his past works, but Monger also made a conscious decision to set aside his guitar at times and experiment with instruments outside his wheelhouse, such as an organ, a hurdy-gurdy, and a Pocket Piano synth, which he checked out from this library's Music Tools collection.
Monger, who grew up in Brighton and lives in Saline, recently answered questions about his new songs, crowdfunding rewards, never finishing Moby Dick, and the world's greatest elementary school rock concert.
On Wednesday, February 8 at 6 pm, "Dreamers and Disruptors" will invade the University of Michigan campus. That's the theme of this year's TEDxUofM event, which aims to “showcase some of the most fascinating thinkers and doers from the University of Michigan community.” (The event is sold out, but it will be livestreamed for free.)
Sophia Kruz, a filmmaker and Ann Arbor native, is one of this year’s dreamers and disrupters, and she'll give a talk about her new movie, Little Stones. In an email conversation with Pulp, Kruz described the film as "an uplifting story of four women artists in India, Brazil, Senegal, Kenya, Germany, and the U.S. courageously working to end female genital mutilation (FGM), extreme poverty, sex trafficking, and domestic violence through art -- dance, graffiti, fashion, and music."
We talked to the Los Angeles-based Kruz about her project, how it’s changed since the inauguration, her new nonprofit Driftseed, and more.
Catching the University of Michigan’s bicentennial spirit, the Department of Dance’s student concert, Glancing Back, Dancing Forward (at the Power Center through Sunday), celebrates the Department’s own history and breadth.
A lobby installation -- designed by Stephanie Brown, Elizabeth Benedict, and Jessica Fogel -- chronicles the early days of dance at the U. There are pleasingly nostalgic photos of clogging and “aesthetic dances” in gossamer dresses out on the lawn, and excerpts from an early phys ed manual featuring line drawings and directions for calisthenics. Come the 1930s and '40s, we see the shift to “modern dance” in photos of earnest young women in Martha Graham-influenced dark jersey skirts.
Before the performance in the theater begins, the lobby is filled with dancers bringing these images to life. Choreographed by Department Chair Fogel and local tapper Susan Filipiak, this pre-show presents its examples of early-20th-century dance in overlapping layers. This results in sometimes odd but historically accurate juxtapositions, such as smiling, overalled tappers beside a stern woman in a high-necked ruffled blouse with a whistle.
But as a solo artist, Porter plays her own compositions, which are thoroughly contemporary because of the creative arrangments.
The U-M grad composes the songs and arrangements with notation software, so even though her classically steeped art-pop sounds loose and jammed with details, it doesn't happen through randomness. The woozy blend of strings, piano, wind chimes, marimba, vibraphone, harp, woodwinds, and more are carefully plotted out with specific players in mind.
Porter's first album, 2012's The Child Wrote a Poem, is written like a 15-chapter book set to music. Her latest, 2016's The Summer Sinks, is a song cycle about hurt and redemption, and the music is even more fragmented and quirky than the sounds on her debut. But Porter's flexible voice, which can sound as delicate as a bird outside your window or as ferocious as a crow cawing on your shoulder, shapes the songs through elastic Joni Mitchell-like melodies and her smart, raw lyrics keep your ears attuned to the tune.
With a bachelor in music composition and a minor in creative writing, Porter combines the two disciplines with excellent results. But she's also a visual artist, hand drawing her brand new video, "II," the second promo clip in support of The Summer Sinks.
Now splitting time between her native California and Ann Arbor, Porter talked to us about her solo work, compositional process, the "II" video, and what's on tap for Ensoleil.
The Ann Arbor District Library's Westgate branch is filled with new things. After all, it just reopened in September 2016 after a massive expansion and remodel.
But even newer than the computers, coffee shop, and shiny shiny bathrooms are three large paintings by Ann Arbor native Ben Cowan. The video above gives you a guided tour of Cowan's paintings. We also interviewed the artist about growing up in Ann Arbor, his influences, and how he came to create the works from his Neighborhood Views series, which have ended up finding permanent homes in the library.