kevin johnson

ulppodcast

We are thrilled to announce the launch of Universal Language Project’s brand new podcast! This is a co-production between Second Inversion and ULP, featuring interviews recorded in our studios and live concert recordings from our live concert recording archives.

Each episode features a 20-minute interview with a Northwest composer to gain insight into their creative intentions and artistic process followed by a recording of a brand new work – often from the premiere, live and unedited in all its glory.

Episode 1: Jovino Santos Neto

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Three-time Latin Grammy nominee Jovino Santos Neto, a master pianist, composer and arranger, is among the top Brazilian musicians working today. Currently based in Seattle, Washington, he has throughout his career been closely affiliated with the Brazilian master Hermeto Pascoal. He was an integral part of Pascoal’s group from 1977 to 1992, where he fine-tuned his artistry, performing around the world and co-producing several legendary records.

For this composition, SACI, the Universal Language Project commissioned Jovino to write a multi-movement piece designed to pair with Stravinsky’s L’histoire du soldat. This work is intended as commentary on Stravinsky’s work where, about 100 years later, we are also creating great shows in a time of limited financial means. This work is based on a mythical Brazilian folk character, the Saci, who simultaneously helps us out of tricky situations and mischievously keeps us humble. This work beautifully merges Jovino’s background in Brazilian jazz with contemporary classical composition to create a delightfully charming and important new piece.

Stephan Michael Newby, Baritone / Narrator
Eric Rynes, Violin
Eric Likkel, Clarinet
Brian Chin, Trumpet
Nathan Vetter, Trombone
Steve Morgan, Bassoon
Todd Gowers, Bass
Ben Thomas, Percussion

Recorded Live at the Velocity Dance Center in Seattle, WA
May 16th, 2015
Bill Levey: Audio Engineer

Episode 2: Wayne Horvitz

Wayne Horvitz is a composer, pianist and electronic musician who has performed extensively throughout Europe, Asia, Australia, and North America. He is the leader of the Gravitas Quartet, Sweeter Than the Day, Zony Mash, The Four plus One Ensemble and co-founder of the New York Composers Orchestra.

Working primary in a jazz inspired large ensemble medium, Wayne’s music seems to naturally defied any one genre and offers a truly unique sound to the 21st century music collection. This piece, A Stammer for Tori, was inspired by the violinist Victoria Parker and is written for a small mixed chamber ensemble.
Victoria Parker, Violin
Susan Telford, Flute
Eric Likkel, Clarinet
Brian Chin, Trumpet
Nathan Vetter, Trombone
Rajan Krishnaswami, Cello
Kevin Johnson, Piano
Rob Tucker, Percussion

Recorded Live at the Velocity Dance Center in Seattle, WA
Jan. 9th 2015
Bill Levey: Audio Engineer

The Universal Language Project is a music-centric multi-arts concert series dedicated to generating new music for the 21st century. It is a program of Common Tone Arts, a non-profit arts organization dedicated to creating positive change for our diverse world through music and arts education.

by Maggie Stapleton

Photo credit: Kimberly Chin

Last month, the Universal Language Project took us out of the Pacific Northwest…. and in to the Wild West!

Photo credit: Kimberly Chin

This well crafted, western-themed program was presented at Resonance at SOMA Towers on Friday, January 22 and Velocity Dance Center on Saturday, January 23. We’re pleased to share the audio recording of Saturday night’s concert with you. Be sure to mark your calendars for ULP’s next performances on March 11 and 12 featuring SCRAPE!

Photo credit: Kimberly Chin

Notes on “Campfire Songs” by Brian Cobb:

I have always been intrigued by the American frontier era. It started with the idea of traveling into unknown lands with a dream of a better life. Although I can never truly understand the hardships of such a journey and the discipline required, I admire the courage and the ambition of these settlers. While much can be debated about the pros and cons of this era in American history, as a composer I am not equipped to argue for or against this period. I just know that other people have come before me and their actions have brought us to our present state. Furthermore, since I reside in Seattle I am unquestionably indebted to their journey.

Campfire Songs can be thought of as a symbolic representation of one night on the pioneer trail. I have assembled a collection of poems by different American authors from different periods. A seventh song, Winter in the Sierras, was commissioned by the Universal Language Project for this performance. The collection, as a whole, is intended to convey a story of hopes, hardships, and ambitions of the pioneers.

The campfire is one remnant from the past that I hold dear in my own life. Before wax cylinders, radio, telephones, television, or the internet, the communication of news and personal experiences often took place around the campfi re. What I fi nd fascinating is how the allure of the fire’s flames feeds the imagination, creates camaraderie between people, and offers a primeval connection to our distant past. Beyond the essential needs of warmth and cooking, the campfi re setting offered a diversion from the day’s travel and a chance for much needed rest before the next day’s journey.

Photo credit: Kimberly Chin

Notes on “Railroad” by Tim Carey:

Photo credit: Kimberly Chin

My goal in writing “Railroad” was to use the American folk song “I’ve been working on the railroad” as an exploratory vehicle for experimenting with harmonic concepts which I have been wanting to explore for quite a while. I attempted to create a musical space with an open backdrop on which small motives could be presented and heard as singular ideas. The motives are not intended to develop, but instead appear and come to life quickly and vanish before their full realization, as if the listener is staring out the window of a train catching glimpses of the countryside. The piece is structured in four parts as is the original source material. While the themes have been obscured, the form and harmonic content are derived directly from the original song and molded to fi t the desired aesthetic of the piece.

Notes on “There Must Be a Lone Ranger!” by Karen P. Thomas:

A few years ago, in the course of considering my ignominious past – a childhood fi lled with Country & Western music and too much TV – I realized that I rather liked some of that directness and simple imagery. So, as composers are wont to do, I put on my cowboy boots and wrote about it. The result was a song cycle, “Cowboy Songs” – on texts by E. E. Cummings.

Photo credit: Kimberly Chin

“There Must Be A Lone Ranger!” is a continuation of those earlier cowboy pieces. The sources for the text include 19th century cowboy songs, cowboy poetry and newspaper articles, a poem by e e cummings (“sam was a man”), and a few things I wrote myself. Within it are some of the mythical heroes of childhood: the Lone Ranger, Calamity Jane, Billy the Kid…

Visit our archives for more on-demand, live concert recordings, including more Universal Language Project shows!

Musician credits:

Soprano: Cherie Hughes
Baritone: Michael Monnikendam
Flute: Liz Talbert
Clarinets: Rachel Yoder
Violin: Eric Rynes
Cello: Brad Hawkins
Guitar: Jeff Bowen
Banjo: Michaud Savage
Percussion: Greg Campbell, Melanie Voytovich
Trumpet: Brian Chin
Piano: Kevin Johnson
Conductor: Karen Thomas
Audio Recording: Bill Levey