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Erik Friedlander
Emotional Intersections
Oboes of love and a whole lot more
E
rik Friedlander got his start on
New York’s fertile downtown new
music scene nearly two decades ago
by playing cello in avant-jazz legend John
Zorn’s celebrated Masada, and also earned
a rep as a top studio vet on releases by the
Mountain Goats, Courtney Love, Laurie
Anderson, Dar Williams and more, even
playing in Broadway shows and leading
the fi ne group Topaz. His 14 CD releases
cover similarly wide territory. Still, for
me, Friedlander’s solo work (including a
gorgeous performance in Portland a couple
summers back accompanied by images
created on family vacations by his father, the
great photographer Lee Friedlander, and an
intense 2005 Shedd concert of improvised
responses to a mad French surrealist
poet’s texts) remains his most vital. On
Saturday, Jan. 8, Friedlander returns to
the Shedd with his latest unaccompanied
show: music by Zorn, much of it inspired
by his Jewish roots, including klezmer, but
also employing propulsive jazz rhythms,
classical and postclassical infl uences and
more. Friedlander’s mastery of bowing,
plucking and chording techniques, and
the music’s wide emotional range, from
ruminative to melancholy to passionate,
should make this performance much richer
than the usual solo showcase.
Friedlander represents the kind of
creative intersection of jazz and classical
musicians that’s enriching American music
today, and Eugene seems to be a font of
these healthy hybrids, with some excellent,
boundary-busting
young
musicians
emerging from the UO music school in
recent years and sticking around for a
while to fi nd their voices before heading
off for greater opportunities. A new
hothouse to nurture such nascent efforts is
aborning this year. According to founder
Paul Bodin, the January-May Broadway
Avenue House Concert Series will
afford UO students, faculty, alums and
other Eugene and touring musicians the
opportunity to present, demonstrate and
discuss their music with local music
lovers. The series’ debut concert on Jan. 15
at 911 W. Broadway features UO trumpet
professor and Beta Collide founder Brian
McWhorter , UO sax prof Steve Owen ,
Cherry Poppin’ Daddies guitarist Bill
Marsh and percussionist Jason Palmer .
Speaking of rising youngish Eugene
jazz talent, if his explosive 2009 release
Evidence is any indication, the excellent
saxophonist/composer Joe Manis will
soon be better known for his high-powered,
updated take on the glorious Rollins/Trane
tradition than for his sideman slots in the
Cherry Poppin’ Daddies and Thomas
Mapfumo’s band. The jazz trio that’ll play
at the Granary on Jan. 15 — all UO grads
— replaces the standard piano or bass with
guitar played by Portland’s Justin Morrell;
Corvallis’s Ryan Biesack drums.
The next excellent touring jazz show of
the year alights at Luckey’s on Jan. 14, when
Seattle’s avant-punk-jazz Reptet bring
their raucous, high-energy improvisation
back to town. Boasting a bustling lineup
of trumpets, vocals, saxes, banjo, bass,
percussion, tuba, trombone and clarinets, the
virtuosic multi-instrumentalists specialize
in blowing up the standard staid jazz vibe
and rocking the house.
The Oregon
Mozart
Players ’
nearly sold out Jan. 8 concert at the Hult
Center’s Soreng Theater features the
famous chamber orchestra arrangement of
Samuel Barber’s perennial Adagio, George
Gershwin’s lovely little “Lullaby” and the
suite from Aaron Copland’s opera, The
Tender Land, which isn’t performed as
much as it should be because the libretto
doesn’t match the brilliance of Copland’s
music, so this is a chance to hear some
relatively rarely played music by America’s
greatest composer. The sumptuous
melodicism of Virginia composer Walter
Ross’s newish Concerto for Oboe d’Amore
and String Orchestra sounds a little old
fashioned, or postmodern, and stars a very
old instrument: the “oboe of love” (which
sounds like a disastrous pickup line from
the spoof on porn fl icks Peter Sellers
should have made), that mellower, huskier
voiced old great-aunt of the modern
instrument that purred through so many
lilting works by J.S. Bach and other 18th
century composers, and was sporadically
revived by Ravel, Debussy and others.
Congrats to the Mozart Players for helping
keep American music a living tradition.
If you want to hear other ancient sounds
and instruments, check out the UO’s
Collegium Musicum concert, featuring
music by the great Renaissance composers
Josquin and Palestrina and early Baroque
masters Monteverdi and Frescobaldi, at 5 pm
Jan. 13 in the campus’s cozy Collier House.
Finally, you can hear one of the region’s
best world music bands and support a good
cause — the Iraqi Student Project, which
educates students who want to rebuild the
country our taxpayer dollars devastated —
by catching local Middle Eastern ensemble
Ala Nar at Cozmic Pizza on Jan. 15. ew
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