Isabel's Notes

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Mark Berman, pianist extraordinaire (no I am not biased, and yes he has played SO much more than just that much-requested theme from “Sex and the City”) will return to his roots on Friday, October 9, at 7 pm, when he brings his original jazz suite for voices, “The Genesis Project,” to Congregation Mishkan Israel, 785 Ridge Road, Hamden, CT, in honor of their 175th anniversary. Mark, a New Haven native, will launch his international tour in his hometown with a newly arranged Genesis Project, his original jazz/R&B vocal suite based on the Book of Genesis with a joyful and timely message of planetary ecology, for a special FREE concert, open to the public. Berman, on piano, naturally, will be joined by Dan Weiss on guitar and keyboards, Tony Tino on bass, and Warren Odze on drums, along with vocalists Emily Bindiger and Angela Clemmons. For more information and directions, call the synagogue at 203-288-3877 or visit www.cmihamden.org. (UPDATE 9/27: We have been alerted that there is a good chance that harmonica genius William Galison (who appears on “The Genesis Project" recording) will join the band in Hamden.)

Actor Hugh Jackman, who has worked with Berman on several projects, calls Mark “a rock of creativity, laughter and joy.” Berman, a graduate of the Hartt School of Music in Hartford, CT, is a much sought after pianist, composer (lots of TV including, yes, HBO’s “Sex and the City,” Showtime’s “Nurse Jackie,” USA’s “Royal Pains,” and many more), arranger, orchestrator and music director. He was born in New Haven, into a family of accomplished musicians: his dad, Arnold “Sonny" Berman, was a well known trumpet player and big band leader. His cousin, another Sonny Berman, was a star trumpeter with Woody Herman’s famed Thundering Herd. His great-uncle Harry Berman was the conductor of the New Haven Symphony, who also served as conductor at the historic Shubert Theatre, and his cousin Bill Rhein was the youngest member of the New York Philharmonic. His mother, Rosalind, though not a musician, was a beloved and respected member of the Connecticut state legislature for  many years.

The Genesis Project, which Berman wrote (both music and lyrics), arranged and produced, started when, as a teen, he was asked to write a tune for a Friday night service at Mishkan Israel. He did, and now returns with what is an exciting and dynamic blend of elements of rock, R&B, gospel, samba and other fascinating musical idioms in tight vocal harmony. Opening with an eloquent prologue and wrapping with a simmering blues-gospel flavored prayer for “Peace,” Berman explores the beautiful spirituality of the Judeo-Christian tradition while addressing humanity’s urgent need to rethink our sacred connections to the earth and one another. The Genesis Project has been performed live at Birdland Jazz Club in New York City and elsewhere to sold out crowds and rave reviews. Variety calls it “Dazzling.” Modern Drummer magazine says of The Genesis Project: “Berman shines as composer, keyboardist and arranger, bridging jazz, R&B and Gospel.” Mark says “It means a lot to me to be able to bring The Genesis Project back to the very place of its genesis.” Listen to “The Moon, The Stars” from The Genesis Project www.markberman.bandcamp.com/track/bonus-track-moon-stars  and more from The Genesis Project www.markberman.bandcamp.com

Mark has written for, played and recorded with the proverbial “who’s who” of jazz, pop and rock. His resume reads like a history of modern music: Illinois Jacquet, Jackie McLean (one of his former teachers), Aretha Franklin, Carole King, Wycliff Gordon, Mark Murphy, Betty Buckley, Hilary Kole, Houston Person, Nana Mouskouri, Petula Clark, Cornelius Bumpus, Lesley Gore, Gladys Knight, Hugh Jackman, Ben E King, Buster Poindexter, Blood, Sweat & Tears, Richie Havens, Phoebe Snow, Helen Reddy, Jennifer Holliday, Morris Pleasure and Phil Ramone, among many others, and he has also been a powerful presence on Broadway, where he has conducted orchestras for Rent, Smokey Joe’s Cafe and Blood Brothers and played lead piano on The Boy From Oz, Hairspray, The Life, 42nd Street, Dreamgirls, Jesus Christ Superstar, Hair and Bullets Over Broadway. He also served as conductor and music director for several productions at the venerable Westport Country Playhouse under artistic directors Joanne Woodward and Annie Keefe.

*CONCERT DETAILS* The Genesis Project concert is suitable for all ages, is free of charge and open to the public, and will take place during Friday night services on October 9 at 7 pm at Congregation Mishkan Israel, 785 Ridge Road, Hamden, CT, in celebration of CMI’s 175th Anniversary. For more information and directions to the venue, call the synagogue office at 203-288-3877, or visit www.cmihamden.org.

Mark Berman official website: www.markbermanmusic.com

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"Manteca" - The Quincy Jones Big Band (Saturday Night Live, 2.10.90) Dizzy Gillespie, Chano Pozo, & Gil Fuller, composers. Quincy Jones, arranger. Saxes: Frank Wess (lead), Alex Foster, Michael Brecker, George Young, Lenny Pickett, Lew Del Gatto. Trumpets: Earl Gardner (lead), Joe Shepley, Ron Tooley, Glenn Drewes. Trombones: Steve Turre (lead), Keith O'Quinn, Robin Eubanks, Dave Taylor (bass). Horns: John Clark & Jerry Peel. Rhythm: Chris Parker (drums) & T-Bone Wolk (bass). Featuring Frank Wess (soprano) and Michael Brecker (tenor).

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The Genesis of Ecology and the Ecology of Genesis

Darren Aronofsky's new film Noah is stirring up a tidal wave of attention. He writes powerfully about his inspiration for the movie and his feelings of "Awe" at our earth's wonders: "Whether you are an atheist or a believer... This is our garden. We have dominion over it. Are we tending it? Are we keeping it?"  

When Mark Berman released his debut record "The Genesis Project" in 2007, he wrote in a similar vein about his concept for his Jazz/R&B vocal suite based on "The Creation" allegory, but with a human rights and environmental message for all earth's  inhabitants, no religious affiliation required:

"I feel this is very timely. The world is being abused and its health ignored. We are all part of this great small blue planet. Caring about it and each other is very powerful. Words and actions are powerful. Profits before people will never benefit the whole. Nobody wins with this approach. We've got one beautiful fragile planet. Its health and people need our attention. We need a call back to the planet. A call to harmony. Peace must be achieved. The Earth must be cherished as well as all living creatures on it. This is our planet's natural state. Our call must be heard. My contribution is THE GENESIS PROJECT." (Mark Berman, 2007)

I am grateful to these artists who, using the wisdom of ancient stories, whether perceived as truth or parable, call attention to the plight of our small blue planet and ask us, in Mr. Aronofsky's words, "Have we taken responsibility for its stewardship?"

We look forward to seeing Noah.

(My niece Megan, inspired by Mark's original concept album "The Genesis Project," made the beautiful earth and sea painting pictured above as part of a series of artworks accompanying it.)

Contact Mark on Facebook or read more about him here.

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William Galison Honors Toots Thielemans

World-class harmonica player William Galison wrote the following moving tribute to his mentor, jazz harmonica legend Toots Thielemans, who officially retired his instrument Wednesday at age 91. I am grateful to Galison for these reminiscences of the "grand master" (this appeared originally on Galison's personal Facebook page on March 14, 2014): "Toots Thielemans has announced that he will no longer be performing. For me, this a is a very sad and significant event, and it makes me deeply aware of the enormous gratitude I have for this man who I consider my musical hero, my mentor and my friend, When I started playing the harmonica at 17, while a student at Berklee, I didn't know that anybody else had ever tried to play jazz on one before. Of course, the moment people saw me playing incessantly - everywhere and anywhere - they said, "Oh you must be a big fan of Toots Theilemans". I remember asking "who's that?". But then I bought "Live at Montreux" with Oscar Peterson's "Big 6" , Joe Pass, Neils Pedersen, Milt Jackson Louis Bellson, and Toots and the die were cast. I literally wore out every Toots' record I could find, trying to understand and imitate every phrase. His playing taught me what was possible (almost anything) on this seemingly impossible instrument, and made me proud to play an instrument that many people considered a toy. I was so thrilled when I met Toots one year later in New York City (when he was younger than I am now!). We walked down "music row" together, and I sat in awe watching him play session after session, jingles, albums tracks, movie scores... It was one of the most exciting days of my life. Since then I have seen Toots perform dozens of times, and kept in touch, and he has always treated me with almost paternal affection. He has been extremely supportive of me and my playing, perhaps as much because I didn't try to sound like him as because I shared his passion for the harmonica. Toots has helped shape my life not merely as the grand master of the instrument I have devoted my life to, but also because of his awesome musicianship, his openness to all kinds of music, and above all the gentle, generous and beautiful spirit that infuses everything he does. "Bluesette" is one of the most perfect little compositions ever written, and one of my favorite tunes to play. Whenever I play it I make a dedication it to Toots. Last night, I played Bluesette in a little club in France, and was so moved with gratitude for Toots, who taught me that a rich and joyful lifetime could be devoted to this funny little instrument. I honestly don't know who I would be today if I hadn't been inspired by Toots. Toots, I honor you, I thank you, and I love you!"

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This is Dollar Tan, past company member, who gave name to our "TICK."

As we wind down at Spidey, I am reminiscing about the wonderful people who have been a part of our web. Long before we all learned we would be closing, I was fortunate to have been asked to be the backstage "correspondent" for Playbill's Broadway Yearbook for the 2012-2013 season. I take the liberty, without express permission, except that they are my own words, of printing an excerpt of the piece I contributed to that volume, to pay homage to all of us who have been a part of the making of Spider-Man. From its inception, we have had a backstage ritual that continues to this day, only through Saturday night January 4, 2014. Here, for #throwbackthursday, is our "Tic(k) Circle." 

"We have a very special ritual we perform as a company before every single performance. At our "places" call, the cast gathers on deck, stage right. We hold hands to form a circle in order to offer each other well wishes for a good show. This circle originated early in our process as an invocation of gratitude and protection. For a time, it included moments where anyone who wished would speak from the heart and dedicate a few special words. It evolved to become a ritual of remembrance and inclusion, our "TICK CIRCLE." Every time an actor departs the company, he or she adds a word or a sound, with a movement, to the existing choreography. The TICK CIRCLE is so named because one night company member Dollar Tan spontaneously launched into one of his signature moves and voiced a simple "tick, tick, BOOM, BOOM, BOOM" with coordinated foot-stomps. It has since grown (and continues to grow!) into a lengthy stream of words and sounds accompanied by specific moves which we execute with alacrity and occasional grace, nightly, just before the curtain goes up."

I'll just add that at its inception the crude sacred circle had in attendance ALL of those involved in our process: cast, crew and creatives. I salute us.

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Tim Kreider's Open-Source Response to People Wanting Something for Nothing

"Here, for public use, is my very own template for a response to people who offer to let me write something for them for nothing: 'Thanks very much for your compliments on my [writing/illustration/whatever thing you do]. I’m flattered by your invitation to [do whatever it is they want you to do for nothing]. But [thing you do] is work, it takes time, it’s how I make my living, and in this economy I can’t afford to do it for free. I’m sorry to decline, but thanks again, sincerely, for your kind words about my work.' Feel free to amend as necessary. This I’m willing to give away."

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Funny Fishy Food Art Cars

Artist César Maxit's Fishy Food car creations are mobile piñatas for social awareness, full of exuberance and humor! They've been driven across the country from DC to Seattle (sponsored in part by Dr. Bronner's Magic Soaps) to draw attention to labeling of genetically modified organisms (GMOs), AKA "Fishy Food" (another humorous twist to the more commonly called "Frankenfood"). While eyes are on Washington State for its popular vote to label GMOs, my eyes are also on the Fishy Food cars for their light-hearted and beautiful approach to educating the public on food and agriculture through art, while highlighting the common right to know what is in our food.

The colorful convoy, made up of Fishy Apple, Fishy Corn, Fishy Sugar Beet, Fishy Tomato, Fishy Soy and Fishy Wheat (could they be the ag-alt-Sinister Six?!) began a cross-country trek in Washington, DC and made its way across the United States to Seattle, stopping for rallies along the way. 

Of course, the critters are manned (personned) by people! They continue to raise awareness of Washington State's November VOTE for GMO labeling and Fishy Food.

Connect with the Fishy Fleet. They are also on Twitter: @FishyFleet! 

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You work on the dialect, the movement, the aging, being a butler. You put together all these technical things, but all that is done just so you can almost push yourself into the abyss, to fall into the character. And in that space, there is an agreement made, in a way, where you ask for that energy to be allowed to be in you, to magnify itself from yourself into the world.

Forest Whitaker on acting the part of an historical character (quote from Q & A with Felicia R. Lee in Sunday's NY Times with Oprah Winfrey about "The Butler") 

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Winslow Homer at The Clark Art Institute

I love the Clark Art Institute for so many reasons. One is because it is situated in beautiful Williamstown, MA. Another, because it houses one of my favorite paintings: Fumée d'Ambre Gris by John SInger Sargent. And now, because of Winslow Homer. I had known of the exhibition, but became more captivated with it because of Holland Cotter's gorgeous writing in last Friday's New York Times. His lyricism and passionate, gorgeous prose capture Homer's ferocity, artistry and melancholy. Read it to the end, you will see what I mean.  His writing knocked me out. His subject does too.

Many years ago, in the mid-1990s, mom and I went to a Homer exhibit at The National Gallery in Washington, DC. I snapped a photo of her standing at the entrance to the gallery beneath an enormous detail from Homer's "Eight Bells." I love the juxtaposition. I had it framed for her and dad, and now it hangs in my apartment. Transcendence over reality?

In any case, the exhibition of Homer at The Clark goes through September 8. I will be there as often as possible until then, and you'll find me resting near Sargent's lady.

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My Tumblr Turned TWO Today & Tumblr Gave Me a Cupcake!

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Personal Parsley: My Reckoning with Formative Phonics (or, The Origin of the Speeches) (photo of parsley and its shadow by Isabel, 3/20/13)

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From "Network" screenplay by Paddy Chayefsky (1976)

Howard Beale: I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's worth; banks are going bust; shopkeepers keep a gun under the counter; punks are running wild in the street, and there's nobody anywhere who seems to know what to do, and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat. And we sit watching our TVs while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be! We all know things are bad -- worse than bad -- they're crazy. It's like everything everywhere is going crazy, so we don't go out any more. We sit in the house, and slowly the world we're living in is getting smaller, and all we say is, "Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials, and I won't say anything. Just leave us alone." Well, I'm not going to leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot. I don't want you to write to your Congressman, because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first, you've got to get mad. You've gotta say, "I'm a human being, goddammit! My life has value!" So, I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window, open it, and stick your head out and yell, "I'm as mad as hell, and I'm not going to take this anymore!!"

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Spent white rose spied through winter privet, like tissue used to dry the crying skies

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Fortress and firmament #NYC

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Old house

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Fav roasted bits: tie between the crispy leaves of Brussels sprouts and the oozy insides of #garlic cloves

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#Afternoon #moon