Seattle Sounds and Musical Utterances: Q&A with James Falzone and Bonnie Whiting

“There is a ‘sound’ here, no doubt,” says James Falzone of Seattle’s distinctive new music scene. “It is one I would describe as patient and less influenced by the frenetic energy that you might find in a city with less vistas.”

Photo on left by Patrick Monaghan.

Those famous Northwest vistas are relatively new to clarinetist/composer James Falzone and percussionist Bonnie Whiting, each of whom recently moved here from the Midwest to serve as educators at two major academic institutions: Falzone as the new Chair of Music at Cornish College of the Arts and Bonnie Whiting as the Chair of Percussion Studies and Artist in Residence at the University of Washington.

Both powerful players in contemporary and experimental music circles, Falzone and Whiting first met at one of our New Music Happy Hours (co-presented with the Live Music Project)—and their conversation led to a musical collaboration which premieres this Thursday, March 2 at the Wayward Music Series.

Utterances is the name of the performance, which combines original, composed, and improvised music based on text, spoken word, and translation. The program merges the distinct sounds and styles of each musician: Falzone known for his matchless musical fusion of jazz, classical, and world music traditions, and Whiting for her interdisciplinary performances which often venture into nontraditional notation and instrumentation.

The concert program opens and closes with duo improvisations that expand, challenge, and subvert the traditional roles of clarinet and percussion. In between are solo sets featuring original works by Falzone, Whiting, and other composers, along with a performance by Falzone’s jazz-infused clarinet and saxophone sextet the Renga Ensemble.

We sat down with both artists to talk about Seattle sound experiments, unusual instruments, and musical utterances:

Second Inversion: You are both relatively new to Seattle, each serving as educators at two major academic institutions in the Northwest.  What do you find most inspiring about your respective new roles, and what do you hope to accomplish?

Photo by William Frederking.

James Falzone: Cornish has a legacy unlike any other institution, connected to the very heart of American experimentalism. Being the steward of that legacy is something I find very exciting but also humbling, and I intend to take good care of it. This means learning from that legacy and continuing the sense of openness, experimentation, and disruption that Cornish has always represented.

Bonnie Whiting: There are already so many fabulous opportunities that exist for percussionists at UW: the Harry Partch instrument collection on campus, a partnership with the Seattle Symphony, opportunities to perform with groups like the steel band and gamelan ensembles through the ethnomusicology department, and an ever-expanding jazz program.

I’m excited to teach, create, and perform new music by living composers alongside historical works from the 20th century. I also plan more touring and outreach for the percussion ensemble. In March, we’ll perform and lead a hands-on workshop for Tent City 3 (currently hosted on the UW campus.) I’ve been giving workshops in local high schools and middle schools, and we are going to be featured at the Northwest Percussion Festival in April.

In addition to my work with the students, it’s thrilling to have such great faculty colleagues. It’s an incredible scene for new music and improvised music, and I’ve met so many dream collaborators. Right now, I’m working on a project with another new faculty member in the DX Arts program: Afroditi Psarra. She has these incredible embroidered synthesizers and works with sensors, and so integrating these into a percussive soundscape has been fascinating.


SI: What do you find most unique or inspiring about the Northwest’s new music scene?

JF: There is a “sound” here, no doubt. It is one I would describe as patient and less influenced by the frenetic energy that you might find in a city with less vistas. I’m hearing this in composed music, in improvised music, in the soundscape around me; even in the way people speak.

Artists seem hard at work here, presenting their ensembles and music and building a sense of community, attributes of a healthy, vibrant scene. I’m delighted to be a part of it as an artist, and hope to use my role at Cornish to be of service. The wonderful NUMUS Northwest event—which, though not sponsored by Cornish, was held there as a means of service to the community—is an example of what I want to see Cornish doing more of in the future.

Solo improvisation by James Falzone, inspired by the writing of Christian Wiman:


SI: How did this collaboration come about, and how would you describe the music you’re creating together in this performance?

BW: James happened to sit across from me at a New Music Happy Hour last fall, and we had a great conversation. I had heard of him and was familiar with his music; we both moved from the Midwest and moved in similar experimental music circles but hadn’t yet had the pleasure of collaborating.

Earlier this month, we opened the Seattle Improvised Music Festival with a duo set and it was a real joy. One of the elements that has developed (that I love) is the way we subvert the traditional roles played by a percussionist and a wind player. Often, he’ll play rhythmic, groove figures while I make distorted long tones. He’s also happy to move while playing and explore the space. It’s been fun to find percussion instruments that can travel too.

Transcription of an electronic audio score by Richard Logan-Greene. Original realization and performance by Bonnie Whiting:


SI: The Renga Ensemble features six clarinets/saxophones—what is it about this instrument combination that grabs you and pulls you in?

JF: I love homogenous sounding ensembles, though I know many composers do not. The sound of six single reeds resonating together offers far more color than one might imagine. But Renga Ensemble, both in its original state and now with this Seattle mix of players, has always been about personality coming through the texture by way of improvisation.

All of the music I’ll be presenting incorporates improvisation, mixed with through-composed elements, and this back and forth—this teetering between the “already” and the “not yet”—is what my work focuses on. For me, improvisation brings forth a musician’s personality like nothing else can and the challenge I set for myself in the Renga music is to find the balance point so that you hear the voice of each player as much as you hear the voice of the composer.


SI: Many of your percussion performances feature unusual instruments, sounds, or spoken elements—has your career as a percussionist changed the way you listen to your surroundings in your everyday life? (Or vice versa—was it your interest in sounds that originally led you to percussion?)

BW: Even as a kid I had a long attention span, and I have always loved sounds. My mother says some of my first toys were pots and pans on the kitchen floor. Just the other night I was listening to the radio on a long drive across upstate New York, and I stumbled upon the last movement of Mahler 9.  It’s quite long and I was on the Thruway, so gradually the piece became punctuated by static as I moved out of range. This intensified the listening experience for me: my memory filled in some of the music, my imagination more, and I actually enjoy the sound of static.

I’ve spent more time than I’d like to admit trying to replicate the sound of static and white noise on my snare drum and sandpaper blocks, and my collection of found tuned pot lids are more valuable to me than my five-octave marimba. I’m naturally drawn to pieces that use speech patterns to generate rhythmic material: Globokar’s Toucher and Parenti’s Exercise No. 4 on our program feature this technique. These days, I have a very young son and I enjoy “performing” our bedtime stories, adding sound effects and rhythm each night.


SI:What were some of the written sources that inspired the music of Utterances?

JF: In addition to improvised duets with Bonnie, I’ll be presenting two works that connect to text. The first is an ongoing solo project I call “Sighs Too Deep for Words,” which is an improvised, long-form work that is inspired by language from the New Testament that speaks of “utterances,” which is sometimes translated as “sighs,” that communicate the prayers we do not have words for.

The other pieces come from music I’ve created for my Renga Ensemble, which takes its name from a form of Japanese collective poetry. Most of the music for Renga was created around a haiku by American poet Anita Virgil:

not seeing
the room is white
until that red apple

“The Room Is,” composed by James Falzone and performed with the Renga Ensemble:


SI: What are you most looking forward to with this performance, and what do you hope audience members will gain from attending?

BW: John Cage often said that his goal as a composer was to “make an art that, while coming from ideas, is not about those ideas, but rather produces others.” I echo this desire when I honestly answer that I don’t wish for our audience members to gain any one insight or worse, “message.” I hope our program might inspire others to improvise, or to make work of their own, or to seek out the fantastic spirit that is within each mundane utterance or environmental sound in their daily lives.

Photo on right by Marc Perlish.

Utterances is Thursday, March 2 at 8pm at the Chapel Performance Space at the Good Shepherd Center in Wallingford. For more information, click here.

Women in (New) Music: Global Concertos Q&A with Samantha Boshnack

by Maggie Molloy

The concerto may traditionally be a Western musical form, but composer and trumpeter Samantha Boshnack likes to take a more global approach.

Photo by Daniel Sheehan.

Photo by Daniel Sheehan.

Her international opus, aptly titled Global Concertos, is a collection of five distinct pieces written for world-class soloists from, well, all over the world. Accompanied by the B’snorkestra (an alternative chamber ensemble Boshnack founded in 2011), the five concertos feature the soloistic talents of Thione Diop on West African talking drum, Christos Govetas on Greek clarinet, Srivani Jade on North Indian vocals, Julio Lauregui on Latin American piano, and Thomas Marriott on American jazz trumpet.

Drawing from classical, jazz, rock, avant-garde, salsa, and world music traditions, the concertos combine written and improvisational elements to craft an entirely new sound that is truly global in its scope.

Sam Boshnack Still 15

Photo by Ian Lucero.

Though the tour de force originally premiered in May of 2015, the gang is back for another evening of international jams as part of the Earshot Jazz Festival, co-presented with Cornish at PONCHO Concert Hall this coming Monday, Oct. 24 at 8pm.

We sat down with Boshnack to talk about concertos, community, and the rest of the world.

Second Inversion: What was the inspiration behind Global Concertos?

boshnack-3_photo-by-daniel-sheehan

Photo by Daniel Sheehan.

Samantha Boshnack: Global Concertos arose from my desire to celebrate individual expression and virtuosity of musicians outside of Western classical music. I also felt inspired by the concept of a concerto—a large group working together to elevate and support an individual. All of the soloists featured are artists I deeply admire. 

Traditionally in concertos, the virtuosity of the soloist is mostly displayed by their performance of the composer’s written material, although a concerto may contain improvised cadenzas. Global Concertos expands on this idea—in addition to my written material, there is also space for each individually virtuosic soloist to showcase their particular style of improvisation, aural tradition, rhythm/groove and ornamentation. While B’shnorkestra provides the accompaniment, its members are top musicians from jazz, rock, avant-garde, salsa, world, classical and more—providing the flexibility needed for works spanning the globe in their reach.

I created the B’shnorkestra in 2011 and have written a number of pieces for the group (we released our debut record Go to Orange in 2013). This felt like an exciting next step for us. I could still write ideas for the “orchestra” like I had before, but then I could also leave space for the soloist to showcase their brilliant musicality—and together we could create something different than anything either of us individually could.  

For my concerto for vocalist Srivani Jade, I used a Rabindranath Tagore poem entitled Prarthona. Tagore wrote this before India gained its independence. He is describing his dream of how the new, awakened India should be. I chose this poem for lyrics because of its inspiring message extolling the power of unity and the strength of diversity. My goal in this project was to create a musical world that has “not been broken up into fragments.”

B'shnorkestra

Photo by Bruce Clayton Tom.

SI: The concertos feature a wide range of soloists playing instruments from all over the world. Can you describe a bit about what the concertos sound like?

SB: My goal when choosing soloists was to represent five different continents and also five different families of instruments. So I wrote for vocal, brass, woodwind, drum, and piano; and Asia, North America, Europe, Africa and South America are represented. I felt like I hit the jackpot, because I managed to accomplish those goals while also working with amazing soloists who are leaders in their musical communities. I was really inspired by each of them. As I was writing this work, I delved deep into each of their recording catalogues and tried to really hear how their voice would fit in each piece. In addition, I was trying to maintain my individual voice as a composer. I think they and I were both pushed outside of our musical comfort zone, making this a truly experimental work. It was maybe a bit scary.  

Prarthona features Indian classical vocalist Srivani Jade.  I wrote Srivani a melody with Tagore’s lyrics, which she learned by ear. Then we worked together to create sections for her to improvise over. The Concerto for Julio, written for pianist Julio Jáuregui, draws on Latin American roots and exploits the piano as a percussion instrument. In the Concerto for Christos, Macedonian multi-instrumentalist Christos Govetas, here on clarinet, brings a distinctly Balkan flavor to the proceedings.

Sam Boshnack Still 17

Photo by Ian Lucero.

While rhythm has always been a key component for me, the Concerto for Talking Drum takes that dynamic to a whole new level, as Senegalese percussionist Thione Diop brings his organic mastery of the West African talking drum to bear on this combination of African and Western motifs. Last is the Concerto for Jazz Trumpet, written for Seattle-native Thomas Marriott. As the most overtly jazz-oriented of the concertos, it is emblematic for its spontaneity.  Each of these pieces has many sections in it, allowing me to explore different moods and styles within each culture.

SI: What are some of the unique challenges and rewards of studying, composing, and performing this music?

SB: This project (by design) created an opportunity to collaborate and experiment with some musicians that I would not normally get to work with. This was so rewarding for me. My compositional language expanded by adapting to the musical worlds of these diverse, top-notch soloists. The challenge was that I had to use different strategies and methods than usual in order to write for each soloist, because many did not read Western notation. I learned from and worked with each soloist individually to discover ways to successfully display their incredible talent within my compositions. The beauty is that music is universal, and the soloists could rely on their ear. 

B'snorkestra

Photo by Bruce Clayton Tom.

SI: What do you find most inspiring about collaborating with these soloists from around the globe?

SB: Having such a diverse group of soloists allowed me to explore so many musical palettes. Each tradition is so rich and deep. It was an honor to work with these soloists to create compositions for them to shine on.  

SI: Women are extremely underrepresented in musical leadership roles, and especially in composing and band leading. How has being a woman shaped your experiences in these roles?

SB: It is certainly a great challenge.  I think all women in leadership roles in all fields face the same challenges.  We have to fight harder to have our ideas heard.  My work mostly falls in the jazz realm of music (although I would say this project veered away from that), and jazz is so male-dominated.

I think you go through many stages of dealing with sexism—when you are younger you face different challenges then when you’re a bit older. Or sometimes you have an encounter in music that is so discriminatory that it knocks you down and you feel very defeated. But ultimately you love what you do, and you get back up again. I work with a lot of great men who understand the struggle and are supportive, but unfortunately not all are like this. I would say I find a lot of strength in my relationships with other women. They do understand the struggle and we can support each other in the hard times.

SI: What advice do you have for other women who are fighting to have their music heard?

SB: You’re not wrong in feeling that it’s hard, but I think it’s really important that we keep fighting.  

SI: What are you most looking forward to with this performance, and what do you hope audiences will gain from it?

SB: It’s been interesting diving back into this music again for this performance. We premiered these pieces in May 2015. Like I said, for me—it was all a little scary then. This was the biggest show I had ever undertaken. Nineteen musicians—some I hadn’t worked with before, all new music—it was a lot. But we rehearsed hard and frequently, and pulled it off. Actually, I got a really fabulous live recording of the show which I am releasing on CD. This recording will be available for sale at the show, and online (pre-order on Bandcamp, release date November 18). So this time around, that feeling of “will it work?” is not in my brain. This time around we get to relax a little more into the work, I’m really looking forward to that. Because the soloists are all such great improvisers, the pieces are different this time and it’s so fun to hear what changes.

I hope the audience will gain a deeper knowledge and appreciation for all of the incredible and diverse talent we have here in our city.  

globalconbandcamp

The Global Concertos performance is Monday, Oct. 24 at 8pm at PONCHO Concert Hall. For additional information, please click here.

ALBUM REVIEW: Yo-Yo Ma and the Silk Road Ensemble’s Sing Me Home

by Maggie Molloy

In light of recent tragedy and political turmoil around the world, we need music now more than ever—not as a distraction or an escape, but as a gateway toward experiencing our shared humanity. We need music to open our hearts, our ears, and our minds. We need music to connect us in ways which transcend language, religion, tradition, and geography.

That’s the idea behind Yo-Yo Ma’s Silk Road Ensemble, a global music collective comprised of performers and composers from over 20 countries throughout Asia, Europe, and North America.

With such an array of distinct cultures and musical voices present in their collective, the music of the Silk Road Ensemble is at once contemporary and ancient, familiar and foreign, traditional and innovative. The group makes culturally conscious music, drawing upon instruments, ideas, and traditions from around the world to create music that is reflective of our 21st century global society.

Their new album Sing Me Home is a musical culmination of this ethos. Silk Road members each selected a musical work of personal significance to them, then invited guest musicians from different cultural and musical backgrounds to collaborate with the ensemble on each piece.

Sing Me Home

The result is an album which travels fearlessly from the folk melodies of Macedonia to the traditional textiles of Mali, from the fiddle ditties of Ireland to the harvest songs of Galicia, and from the taiko tunes of Japan to the sitar suites of India.

“When you listen to the album you’ll hear how different our homes are,” Yo-Yo Ma said. “For us, this is one of the great pleasures of Silk Road: we celebrate difference; we cultivate curiosity in our exploration and generosity in our sharing. In our home, something completely unfamiliar presents a precious opportunity to build something new.”

Yo-Yo Ma

Released as a companion album to the documentary film The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble, the album stands confidently on its own as a glimpse into the music and personal memories that most inspire the individual artists of the ensemble.

The journey begins with Chinese pipa player and composer Wu Man’s piece “Green (Vincent’s Tune).” Eastern folk melodies come alive through an orchestra of Chinese wind instruments, Western strings, Kamancheh (an Iranian bowed string instrument), assorted percussion, and, of course, the visceral Tuvan throat singing of the Grammy-winning vocal octet Roomful of Teeth.   

Violinist and composer Colin Jacobsen’s contributions to the album include two imaginative arrangements of Western folk tunes: the Irish “O’Neill’s Cavalry March,” featuring Martin Hayes on the fiddle, and the American “Little Birdie,” featuring vocals by Sarah Jarosz. Each arrangement expands the timbral and harmonic palette of Western folk music by incorporating Eastern instruments like the pipa (a four-string Chinese string instrument), the shakuhachi (a Japanese bamboo flute), and the sheng (a Chinese free reed instrument).

What follows is a new arrangement of the traditional Malian tune “Ichichila,” for which the ensemble enlists the talents of Toumani Diabaté on kora (a West African string instrument) and Balla Kouyaté on balafon (an African wooden xylophone). Traditionally sung by the Taureg people while dyeing textiles in indigo pits, the song’s colorful, upbeat cadence comes from the rhythm of the textiles being plunged in and out of the dye with long sticks.

Balkan vocalists Black Sea Hotel lend their voices to an arrangement of the traditional Macedonian folk song “Sadila Jana,” while Japanese percussion instruments take center stage in a contemporary arrangement of the Japanese “Shingashi Song.” Indian raga is the inspiration for the organic and free-flowing “Madhoushi,” featuring Shujaat Khan on sitar and vocals, and “Wedding” features a vibrant marriage of clarinet, oud (a Middle Eastern string instrument), and wordless vocals in a heartfelt tribute to the millions of Syrians who have fled to find new homes in recent years.

But perhaps no other song captures the spirit of the album more than “Going Home,” a piece that has passed through countless composers’ capable hands in the past century. Originally composed as part of Dvořák’s New World Symphony, it was later arranged as a song with lyrics by his pupil William Arms Fisher. On this album, we find it rearranged and translated into Chinese in a twinkling string rendition featuring vocals by Abigail Washburn.

Jumping from China to Spain, the work is followed by a Galician harvest chant. Davide Salvado lends his voice for a new arrangement of a traditional Galician work song titled “Cabaliño,” his voice slow and steady above a bed of lively strings and warbling accordion.

Rhiannon Giddens’ gypsy jazz-infused vocals sparkle atop a tangle of accordion, Klezmer clarinet, and yangqin (a Chinese hammered dulcimer) in an arrangement of the “St. James Infirmary Blues,” while Bill Frisell’s soulful guitar solos shine in “If You Shall Return…,” a Kojiro Umezaki original which takes its inspiration from Bhatiali boat songs.

The album comes to a close with Rob Mathes’s arrangement of the jazz standard “Heart and Soul,” featuring vocalists Lisa Fischer and Gregory Porter. The song plays like a smile: it’s got all the waltz and charm of 1930s New York jazz, but with more global instrumentation.

Because in the end, that’s what the album is really about: bringing together an entire world of sound, listening to one another with open hearts and open minds, and ultimately, creating harmony and understanding in a world that is too often divided.

“All around the world, people constantly meet the unfamiliar through change,” Yo-Yo Ma said. “Rapid or dramatic change can feel threatening, tempting us to build walls to defend against the unknown. At Silk Road we build bridges. In the face of change and difference, we find ways to integrate and synthesize, to forge relationships, and to create joy and meaning.”