Sounds, Trees, Meadows

Setup for Robert Morris "sound, trees, meadows" Centennial Premiere performance in Durand Eastman Park
Setup for Robert Morris “sound, trees, meadows” Centennial Premiere performance in Durand Eastman Park

We had just read “The Transcendent Power of Walking” before heading out so we were primed for automaticity. We entered the park on the short path at the end of the longest street in our neighborhood of dead ends. A music stand was set about ten feet away from an array of percussion instruments as if it was awaiting a conductor.

The Eastman Wind Ensemble had set up their instruments in a dozen clusters all within earshot of one another. The students, all dressed in black, had gathered on the picnic tables after finishing their sound check. We asked one of them what was going on and he told us they were performing the premier of a Robert Morris piece commissioned by the Eastman School of Music in celebration of their centennial.

There were two performances, one at 1:30 and another at 3:30. We missed them both but we thoroughly enjoyed the setup.

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Spontaneous Duplicity

Scat singer and drummer at Eastman School of Music Spontaneous Duos
Scat singer and drummer at Eastman School of Music Spontaneous Duos

Our Jazz Fest buddy, Hal, saw one of these Spontaneous Duo concerts in New York and he got the idea going up here last year. The performance order was assigned by a moderator five minutes before the start of the event. One musician started by playing alone. Five minutes later he was joined by another musician. After five more minutes the first musician left and another player joined the second. There was always a duo playing, the music never stopped for an hour and a half. It was like an open jam for music students (and some faculty members) but not on blues tunes, they were improvising freely.

It was bass and drums when we walked in, then drums and piano, cello and piano, piano and a clarinet player who doubled on plastic water bottle, soprano sax and clarinet, banjo and stand up bass, drums and banjo, voice and drums, flute and voice, trumpet and flute, ending with tenor sax by Vince Ercolomento. All with transitions were so seamless there wasn’t space to applaud.

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