Music Hall wish list, and other things

Thanks to the people who are e-mailing their wishes for the upcoming remodeling-updating of Music Hall. Sandye mentioned that the place needs more benches in the public areas. And yesterday, Don sent these suggestions:

"As to what I want in Music Hall? Simply. Everything you suggest: more leg room, restaurant like the Metropolitan Opera, a wine bar, an upscale cafe. If and when the development around Washington Square happens, and more people feel safe in the area, then Music Hall with those amenities would do well, I think. Especially for the 2010 production of Meistersinger. Five hours. I'll need a dinner or a least a decent snack and a glass of good wine.

"I loved reading about Eartha Kitt, one of my favorites of that time. But my all time favorite was the sexy, sultry voice of Edith Piaf, the French woman of the 40's and 50's. And I tend to forget about jazz in Cincinnati. It's been too long since I was a the Blue Wisp. You may have prompted me to go down there again."

Got ideas? Post them below or e-mail me at jgelfand@enquirer.com

Big arts execs

So far, I've not gotten much response from the salary spread of art execs in Sunday's paper. But the perceptive Don Fritz sent this e-mail:

What really intrigues me, Janelle, is what the "Big Story" leaves out. With those big budgets that run in the millions, all the top executives have big staffs. The Marketing and Development Department of the Opera is brilliantly handled by Chris Milligan and a big staff. And that is most certainly the case with the CSO and the other organizations.

But there is no mention in the stories of these people who have big staffs supporting their operations. It wasn't always magic at the Opera; they experienced a decline in the ticket sales and patron support in the last years of Muni and heard a lot of complaints. ... And with the Cincinnati Ballet, I've never seen a piece that Victoria Morgan choreographed that wasn't over the top and just silly for being campy and cute. Try as they do at the Playhouse, when has there really been a production there that would raise the hair on the back of one's head. And while Paavo may be educating us, the attendance has not been going up over at Music Hall as far as I've noticed.

In fact, ironically under conductor Jesus Lobos Cobos the orchestra did a Bruckner this past year that was thrilling. They had about 750 on Friday night and maybe 1,000 on Saturday. I'll be fascinated to see what Evans is able to do to bring the audience back to the Opera. He is one smooth cookie, and I think damned good. But when they finally do one of my favorites, Meistersinger, I'll be intrigued with the production and performance and the size of the audience for what may be comic opera, but is one long evening of singing. This old German town isn't still munching on brats and drinking beer these days.

SO the real interest for me that I think you should devote at least one page to in the Enquirer is a comparison between the big 8 and the smaller organizations: the Ensemble Theatre, the Shakepeare Company, the Vocal Arts Ensemble, the Chamber Music Cincinnati, the Linton Series, the Cincinnati Chamber Orchestra, The Xavier Piano Series [perhaps one of the real gems of the city and one of the few of its kind in the country] -- their Executive Directors and their struggle with small budgets and meager staffs, if they even have much of a staff. ...

Why not do a interesting study of contrasts amd see what happens when some lesser known figure waves the baton over a Cinderella and comes up with a beautiful Princess, on what the community gets "on the cheap" from groups well deserving of attention because they are good.

So let's have a deeper look below the glitter of salaries of the groups that the Fine Arts Fund heaps money on each year, Janelle.

A personal memory

Sandye Utley took the photo of Joe Lovano and Marjean, below. Here's what she wrote today about Marjean:

I knew marjean quite well, having spent much time with her when I
worked there a few of years ago. What I will remember most fondly are the times over the past several seasons when Paavo would drop by after a late after-concert dinner with friends. Marjean would give permission for performers like Mihaela Ursuleasa, Lars Vogt, and Fema Bronfman to take a place at the grand piano after the club's musicians had long since left and we would be treated to impromptu performances, always followed by a jazzy one by Paavo's favorite local pianist Ed Moss, and
then with Ed and our new friend improvising together.

Some truly magical nights ensued (composer Erkki-Sven Tuur playing in the dark and happily proclaiming he was going to play his first blues song for everyone at the Garfield Wisp; Mihaela declaring that she and Ed must play the Mozart piano duets together some day) -- and Marjean always holding forth indulgently, sitting at her
end of the bar, leading the applause at the end.

Blue Wisp tribute to Marjean Wisby

This message went out today from Phil DeGreg, who leads the house trio on weekends at the Blue Wisp. Watch for a small appreciation of Marjean Wisby this Thursday in the Enquirer. By the way, I found this picture of her with the great Joe Lovano on the Blue Wisp Web site.
-----------------------------------------------------------------------------------
As most of you are aware by now, Marjean Wisby passed away on Wednesday, August 23. It has been a difficult summer for all of us at the club. We did have hopes for her recovery, but sadly things just got worse and worse. She owned and ran the Blue Wisp for over 30 years, which was an amazing act of dedication and perseverance. The Wisp meant everything to her; she loved the business, the music, and the musicians, and was there faithfully seven nights a week all those years, rarely missing a night. She had a big heart, and those of us that knew her miss her a lot. You can read an obituary at this link.

Her funeral was private, but we will be having a celebration of her life at the club on Tuesday, September 26 from 7-11, which will feature The Blue Wisp Big Band and many of the musicians who have played frequently at the club. We will also be raising money to repay her funeral expenses, which had to be borrowed. Please come that evening to help us remember her. It is being organized right now; there will be more info forthcoming in September, and we hopefully will get some media support.

There has of course been lots of speculation about the future of the club. We are confident that the Wisp will continue at its current location as a jazz venue. There will likely be some changes and improvements over time. We are focusing for the moment on improving the service and the hospitality of the club; come by and you should notice the difference. Over the summer we scaled back to four nights of music, and this will continue for a while. There are legal and estate issues being attended to right now, so things are in process. We intend to keep the calendar/newsletter mailings going out to keep you informed.

Below and on the attached calendar are the bookings for September.

Fri 9/1 Rusty Burge and the Blue Wisp Trio
Sat 9/2 Rusty Burge and the Blue Wisp Trio

Wed 9/6 Blue Wisp Big Band
Thur 9/7 Oz Landesberg Quartet
Fri 9/8 Vintage Keys Project, featuring Brent Gallaher
Sat 9/9 Pat Harbison Quartet

Wed 9/13 Blue Wisp Big Band
Thur 9/14 Oz Landesberg Quartet
Fri 9/15 Sandy Suskind and the Blue Wisp Trio
Sat 9/16 Sandy Suskind and the Blue Wisp Trio

Wed 9/20 Blue Wisp Big Band
Thur 9/21 Midpoint Music Festival
Fri 9/22 Midpoint Music Festival
Sat 9/23 Midpoint Music Festival

Tuesday 9/26 Special Memorial/Fundraiser for Marjean
Wed 9/27 Blue Wisp Big Band
Thur 9/28 Phil DeGreg Trio
Fri 9/29 Dan Faehnle w/ Phil DeGreg Trio
Sat 9/30 Dan Faehnle w/ Phil DeGreg Trio

Notes about special upcoming shows:

September 1-2
This coming weekend we welcome CCM Professor, vibraphone virtuoso Rusty Burge. He is an amazing player, who is equally comfortable in the "classical" and jazz music worlds. He technique is flawless and his ideas strong and flowing. This is an instrument not commonly heard, and rarely played so well.
More about Rusty at: http://www.ccm.uc.edu/bios/burge.html

September 8
The Vintage Keys Project is an ensemble that utilizes the Rhodes and Wultizter pianos playing classic jazz and jazz- fusion arrangements by Chick Corea, Miles Davis, Herbie Hancock, Freddie Hubbard, and others. The band includes trumpeter Pat Harbison, Brent, Gallaher, Tony Franklin, Bill Jackson, and keyboardist Jim Connerley.

September 9
Trumpeter Pat Harbison used to teach in the jazz program at CCM. He was a regular on the Cincinnati scene, but moved to Indiana University in the late 90's. He is a strong post-bop player, and swings hard. More on Pat at:
http://Patharbison.com/

September 15-16
Sandy Suskind is without question the finest jazz flutist in the region. His sound is big, and his playing always soulful and passionate. Imagine the fire and lines of Coltrane played with the sound of Herbie Mann and you get the idea.

September 21-23
The Blue Wisp is one of many venues hosting the MidPoint Music Festival, a music event of all styles of music here in Cincinnati. The acts playing the Wisp will be the more jazz-oriented ones. Get the schedule and all the MidPoint info at: http://www.mpmf.com/

September 26
Tribute to Marjean; see above

September 28
The Phil DeGreg Trio, featuring Bill Jackson and Tony Franklin. I just got back from Los Angeles where I recorded what will be my next CD, a trio featuring the great Joe LaBarbera and Tom Warrington. I will be playing some of that music along with other tight well-rehearsed arrangements. Check my website: http://phildegreg.com/news.html
To hear some of my previous trio recordings go to: http://www.cdbaby.com/cd/phildegreg

September 29-30
We are pleased to welcome back the amazing guitarist Dan Faehnle, who always burns the house down. Dan toured for several years with Diana Krall. A true virtuoso. Jazz Times magazine says: "Faehnle is simply one of the best guitarists working today, and is admired by a wide range of veteran players." Just Jazz Guitar Magazine calls him "A box-slinger with funkafied, greasy chops that combine virtuosic technique with heavy groove," or more simply put by Jazz Times, "one of the best guitarists working today...."
Read about him at: www.danfaehnle.com

OTHER NOTES

The Blue Wisp Big Band continues to hold forth every Wednesday night.

Young CCM wunderkind tenor saxophonist Oz Landesberg leads his Quartet the first two Thursdays in September.

ABOUT THE BLUE WISP JAZZ CLUB
The Blue Wisp Jazz Club is located at 318 East Eighth
Street in downtown Cincinnati and is open Wed-Sat.
Showtimes are Wednesday, 8:30 p.m. to
11:30; Thursday through Saturday, 9:30 p.m.-1:30
a.m. Cover charges vary. To make reservations, call
(513) 241-WISP.

Music 'til Dawn

Remember Vern in Lakewood who was going nuts because he couldn't remember the theme song to the radio show "Music 'til Dawn"? This week, Bill Cherry, former host of American Airlines "Music 'til Dawn" on New Orleans WWL-AM in the late '50s wrote some interesting comments. Click here for what appears to be the most complete "Music 'til Dawn" history, including the theme song, "That's All." And be sure to keep reading to see what he wore while he did those broadcasts from a furniture store window on Royal Street. Thanks Bill!

A tribute to Marjean

Dear jazz lovers,

Cincinnati lost a huge supporter of jazz when Marjean Wisby died Wednesday at age 62 from complications of pneumonia. She promoted jazz and jazz musicians in three venues over three decades, even in times when, as Jim Tarbell said in today's obituary, it's no easy task to keep a jazz club going.

Tell me your memories of Marjean, and pass the word to your jazz friends that I am writing an appreciation of this great lady of jazz and what she did for our city! I want to hear from you. Please contact me at 513-768-8382, e-mail jgelfand@enquirer.com or write a comment below.

It's a small world

I received an interesting phone call today from Dr. Ira Abrahamson, 82, of East Walnut Hills and Longboat Key, Fla. Seems as though the good doctor dated Eartha Kitt when both were staying at the same hotel in Havana Cuba, sometime in the late 1950s. He told me he dated two girls, Eartha and Terry Moore, who later married (and divorced) Howard Hughes.

"I was lecturing in Havana, and they were at my hotel. We had drinks together, swam in the pool ... "

Dr. Abrahamson also set a 1944 Southern Conference swimming record while on his UNC swim team. ("We would have gone to the Olympics, except for the war," he says.) He became a prominent ophthalmologist, to whom people came for treatment from around the world.

Since retirement, he's been an active supporter for the Cincinnati Symphony Orchestra, and threw a party when the orchestra toured Florida a couple of years ago.

Eartha, he's dying to say hello to you!

Got a good story? Let me know: jgelfand@enquirer.com

Oh Eartha!

The famed Catwoman, still sexy at 79, spoke to the Enquirer about everything under the sun, by phone from her Connecticut home. Here are some of Eartha Kitt's gems that didn't fit our story that will run in tomorrow's Enquirer (the photo above is courtesy of Gannett):

Favorite songs – I like to sing songs that are simple but very profound – the way they used to write songs, (like) Gershwin and Cole Porter. Sondheim writes very profound songs, but they’re very, very difficult.

Today's best songwriters – Sondheim is one of the most intelligent writers for stage production. For pop songs I think Sting is very good. He wrote a song for me for Yzma, the character I played for Disney’s (animated feature), "The Emperor’s New Groove." And I like Elton John.

On getting inside a lyric – Finding a way to connect it to something that I'm aware of, or of feelings that I have been through before.

The lost art of communication – It's no longer a world where only you and I have a conversation. You connected with one person. ... Recently, I went to see a pop artist in an arena. (People) were going to get beer and popcorn. It was like being at a baseball game. These big arena things – I don't see how you would ever get connected with anything.

Growing up in Harlem – The only music that I heard in Harlem was from the jukebox – Billy Eckstine and Lady Day (Billie Holiday). And Fats Waller, a piano player. Earl Hines, going to the Apollo Theater. But I don't think that made such an influence on me, because I was also a member of the Salem Methodist Church Choir.

An ear for language – Because I was at 115th St. and Madison Ave., where all these immigrants were – Cubans, Puerto Ricans, from all over the world in that neighborhood. So you want play with the kid next door, you’ve got to learn the language.

Survived Hollywood – It was because I could also go off and do theater. I didn't need Hollywood. I don't need Hollywood. I had a beautiful house in Beverly Hills just for me and my daughter, with two acres of land, and I never had to leave my reservation. I did not become a part of Hollywood. And I didn't think of myself as a black person doing the character – I just thought of me as Kitt doing the character. And I still think that way.

On being a role model – Once you start thinking of yourself as an African-American, as a Chinese-American -- we're just American. I go in to do a character as an American, and I'm Eartha Kitt. I have refused to do characters that have been stereotypes, because I'm not a stereotype person.

On being blacklisted for her anti-Vietnam views and finding work in Europe in the 60s – I never left America. I went where I could get a job. ... There are both sides of a coin. And I get ideas from both sides and then I come to my own conclusions. I am for the good of America, and I'm for the good of any religion. There is good and bad in everything.

How she researched Catwoman – I am Catwoman, so there was nothing to research! Because I love cats. I have a lot of cats and love Burmese cats, particularly. They're so teasing.

Listens to opera – Maria Callas is my favorite. My favorite opera was (Puccini’s) "Suor Angelica" with Maria Callas. Not that she had the greatest voice in the world, but her interpretation of the words was so good.

Memory tool – Needlepoint. It's a memory connecting thing that helps me also learn my lyrics. My whole house – rugs, pillows furniture – everything is needlepointed. I hope when I'm gone that somebody auctions them off. I do things that are very simple.

How she'll spend her 80th birthday, Jan. 17 – We're talking about doing Carnegie Hall in the year of my 80th birthday.

80 is the new 40 – I have the potion that makes me feel like I'm 40. I try to live without a lot of pressure. Know when enough is enough, because having more than enough is bringing on pressure.

Music Hall wish list

Now that we've announced the consulting team that will make recommendations for redoing Music Hall, what would you like to see? More leg room in seating? Bigger and better concessions -- with real food, like the Met has? An upstairs, upscale cafe? A wine bar? Cup holders? More glamorous public spaces? Let me know!!

Fates of Flesh and Stone

That's the name of the recital of music by Jake Heggie, presented as part of the Grandin Festival at the University of Cincinnati College-Conservatory of Music Sunday night. About 200 people turned out in Werner Recital Hall for an extraordinary evening of vocal-chamber music. Listeners included festival participants and opera lovers, such as local singer Luisa Dickey and arts patrons Ed and Nancy Rosenthal, who were astounded at the talent assembled for this "student" recital. (Also in the crowd: Nic Muni, just appointed to the CCM opera faculty, and wife Mari.)

The idea of Grandin, co-founded by CCM prof Barbara Honn, is for students to work with master teachers and prepare a recital -- held almost nightly for two weeks. This evening's "master" was Jake Heggie, who introduced each of his own pieces in this substantial program of up-to-the-minute music, and also served as piano accompanist for the musical scene he wrote with Terrence McNally, "At the Statue of Venus."

Heggie (who is 45 but looks 25) is better known as the composer of operas "Dead Man Walking" and "The End of the Affair." I have to admit that I was surprised -- and extremely impressed -- at the depth and breadth of his vocal chamber music. But then, writing songs is really how he started.

These compositions were written between 2002 and 2005. "I'm a theater composer," he told the audience, "and just as in the theater, things happen at the last minute."

Oops. The "thing" that happened was that the violinist for the first piece for piano trio and mezzo, "Times of Day," to texts by Raymond Carver, had food poisoning. So Heggie had spent the day rearranging the work for piano, cello and mezzo. (I was interested to learn it was commissioned through Stanford, my alma mater.)

It worked beautifully. Carver's poems are poignant; he likely knew he had brain cancer when he wrote them. Soon Cho took the solo, with Gustavo Carpinteyro, cellist, and Matt Lobaugh at the piano. I loved the first verse, "Minuet," which had a jazzy feel and Heggie's trademark soaring melismas for the singer. It was both sensual and jazzy (I thought, what fun it might be to hear Denyce Graves sing this). Soon Cho was especially captivating in the second verse, "Simple," which opened with a wordless melody against slightly bitonal accompaniment It was a simple waltz, something in the style of Les Six, but the words -- "if I were dead, I remind myself, I wouldn't be eating (raspberries)" were enough to stop you in your tracks. The third verse embedded the singer as part of the rich texture, and Carver's words were timeless.

"The Deepest Desire" is another work that I would like to hear again. Composed to the words of Sister Helen Prejean, author of "Dead Man Walking," Heggie explained that it describes her internal, spiritual journey, as opposed to the opera, that was her physical journey.

Written for flute (Ginny Broffitt), piano (Moises Ruiz de Gauna) and mezzo-soprano (Christina Gill), the trio opened with the flutist turned, back to the audience, playing a plaintive solo against the piano lid, so that the overtunes rang inside the piano. It was a haunting introduction, and the pianist's Ravel-like arpeggiations added lush atmosphere.

From her first words, the way Christina Gill inhabited Sister Helen's text was stunning. The autobiographical poems describe the nun's feelings vividly -- as she dove into the dangerous, controversial issues of capital punishment. "More is required than being swept along -- all the currents pulling me. ... I raise my voice against the silence. My voice alone. Until a chorus joins," she wrote.

Gill's voice soared through this imagery, rising to an impassioned climax, and subsiding back with instrospection. In contrast, the second song, "I catch on fire," was a humorous portrait of the nun as teacher, whose habit had caught on fire as she taught 25 children. They all learned a lesson.

And "The deepest desire" revealed to us what led Sister Helen to become an activist: a Voice, calling: "Lose yourself!" The final song, "Primary colors," was a serene summation, knowing that she has done it all for her God. The musicians gave it a radiant performance, but most telling was Heggie's art: a seamless crafting of words, music and emotion.

That seamless quality was also key in "Here and Gone," where it was Heggie's turn to be autobiographical. Written to poems by A.E. Housman and Vachel Lindsay, the cycle tells the story of unrequited love and friendship between two men. "A theme that's run through my life is about missed connections, and then turning away, and coming back when it's too late," Heggie said, as introduction. "To make up for those times, I wrote this piece." (The premiere last summer at the Ravinia Festival was by CCM grad Andrew Garland and tenor Nicholas Phan.)

The soloists were tenor Todd Patrick and baritone Kelvin Chan, with a piano quartet (Kuan-Chang Tu, violin; Sunyoung Park, viola; Eduardo Carpinteyro, cello; and Chia-Hsing Lin, piano).

The two men stood on opposite sides of the stage, "hallo--ing" as if across a canyon, for the opening effect. The first song, Housman's "The Farms of Home," was simple -- in the style of an English folk song -- yet there was surprising harmonic interest in the instrumental accompaniment.

The men alternated singing the seven songs, coming together for an exuberant "The Factory Window Song" at the center and then drifting apart again. The atmosphere was one of nostalgia and quiet beauty. The cycle ended with a sweetly sad poem by Housman, "The Half-Moon Westers Low," to glimmering tones in the piano, as the house lights faded out and the audience was left in pitch black.

After intermission, came two challenging vehicles for female singers. Soprano Colleen Brooks tackled "At the Statue of Venus," with Heggie at the piano, a scene originally created for Renee Fleming. (When she was unable to sing the premiere last year at the opening of the Ellie Caulkins Opera House in Denver, Heggie's chum and CCM grad Kristin Clayton stepped in.)

Written with Terrence McNally, the piece is a witty reflection of oh-so-human emotions, as a woman undergoes a fashion crisis while waiting for a blind date at the statue of Venus. Brooks, wielding a large, bright soprano, captured the combination of misgiving and nervousness, as she journeyed through the nightmare of having worn the wrong thing -- "black slacks." It was charming, and the central section, a confidence-building daydream about her childhood, had an almost Schubertian flavor.

The evening's finale was "Statuesque," a set Heggie wrote for mezzo Joyce Castle, sung here by the fearless Christina Gill with a seven-piece ensemble. The texts by Gene Scheer (An American Tragedy) offered tongue-in-cheek insights of five statues, from Henry Moore to the Winged Victory.

Each, of course, had a different character, such as the jazzy walking bass and sexy clarinet solo of Moore's Reclining Figure, and the French humor of Picasso's Head of a Woman. Gill was a knockout -- whether projecting the sinuous, mystical aura of Hatshepsut or the volcanic passion of Giacometti's Standing Woman. I think everyone's favorite, though, was Winged Victory, as Gill arched her back, arms raised, with a black stole to form wings, and the music took on a Kurt Weill cast.

What a revelation -- not to mention the tremendous talent pool at CCM this year.

The Grandin Festival continues Tuesday with The Romantic Vision, coached by tenor David Gordon; wed. with a lunch concert coached by Barbarer Honn at 1 p.m.; Thursday with "In a Cage of Composition" (expect some John Cage) coached by Cage expert Alan Otte; and the final Honors Concert Friday night, coached by the distinguished collaborator Warren Jones. Info: www.grandinfestival.com. It's Free!

Chicago feedback

I just had to post this e-mail from Lois Reid Johnson, a violinist in the Cincinnati Symphony, about the Chicago "cultural weekend" story:

I was delighted to read your article in this past Sunday's paper about your trip to Chicago. It particularly struck me timely and fun to read because we, my husband and 20 year old daughter had just made a similar whirlwind trip the previous weekend. We left on a Thursday and drove back to Cincinnnati after the Saturday night concert at Ravinia, the only part that was no fun. None of us has ever spent much time in Chicago and when we decided to do this the week before, we were amazed it was so difficult to book a hotel right downtown...only to discover when we arrived that Loolapooza was happening the same days as our visit. So we even got to hear some of the bands from a distance (and of course my daughter would have loved to be inside Grant Park hearing them) as we wandered and explored both the Shedd Aquarium and the Planatarium.

Unfortunately we didn't plan ahead enough...alas tickets to the King Tut Exhibit were sold out. However reading your article, it seems we did, saw and heard much the same as you: the Art Institute, our first stop after arriving which was open late Thursday evening and free, walking along Michigan Avenue and buying an early birthday present for my daughter at one of those lovely stores and a couple very good and moderately priced restaurants were possible to find. We did do the architechural boat trip and it was terrific, very intersting and the most glorious morning weather too.

I was amazed how beautiful and vibrant the city...made my even more upset and sad about our downtown city. We need leaders with vision and determination to make it happen -- to plan a Millenium Park here, for starters and clean up the city. After seeing Chicago it puts our situation and lack of a vibrant downtown in stark contrast...but of course, I don't need to say that to you as you know all this already...

The biggest thrill of all was going to Ravinia. Ashamed to admit, but I'd never been there; we arrived about 2 1/2 hours hours ahead and like you were absolutely amazed by the lines of people waiting until the gate opened rolling their carts, wagons, etc. laden with tables, tablecoths, food baskets, candles, bottles of wine and more. And then to see how orderly and elegantly they set up their "wares".

I thought it great, even though the concert was only a part of the picture for them, the respect they had for the place and evident love to be there listening to this wonderful orchestra gave me great hope. Like you, I thought the orchestra sounded absolutely terrific; Renee Fleming was the soloist and she was even greater than I knew she would be....then the long drive home, the only downer of the trip.

Anyway, just thought I'd give you some feedback about our Chicago experience and thank you too for your article reaffirming all we discovered.

Violins and terrorists

The recent terrorism scare in London has caused several orchestras to postpone or cancel tours abroad, I'm reading in my arts Web sites this morning. That was actually one of the first things I thought of, at the news of new restrictions for passengers regarding carry-on bags.

How will the new rules affect orchestras, traveling with multi-million dollar violins, violas, clarinets and flutes? In the past, musicians have been loathe to check their rare, often irreplaceable instruments in the cargo hold, for fear they would be toothpicks when they arrived at Baggage Claim.

Here's one of the stories coming out of the UK today, courtesy of the BBC.

This week, Musicians magazine, the magazine of the American Federation of Musicians (union) called for all musicians to boycott Delta Airlines, because of Delta's poor record when it comes to allowing musicians to bring their musical instruments on board.

But the Delta situation pales with everything that's happening now. I'm wondering if orchestras will be forced to ship all their instruments ahead by truck or slow boat to China... How will it affect the Cincinnati Symphony's spring tour to the West Coast?

Bollywood and more

About 60 members of Miami University’s Collegiate Chorale and Global Rhythms Ensemble performed in "Bollywood Night" at the Hollywood Bowl in July, as part of the Bowl's world music series. According to director Ethan Sperry, 14,000 tickets were sold before the show.

The headliner was A.R. Rahman, shown in photo, Bollywood film composer who has written more than 80 film scores, music for the Broadway show "Bombay Dreams" and the musical version of "Lord of the Rings." (Thanks to Ethan Sperry for the photo.)

The MU group has collaborated with Rahman for more than three years now, says Sperry. For the LA show, they performed their own version of seven of Rahman’s songs, including "Chale Chalo" from the film "Lagaan," the only Indian movie to have been nominated for an Oscar. To see a photos, visit www.hollywoodbowl.org, or www.globalrhythms.org.

Call for auditons: Middfest International, a Middletown fall festival, is presenting the United States premiere of "Some Sunny Night" this fall. It’s a musical about two disabled athletes – from Norway and China – who forged a friendship and established the first marathon runs in Norway and China for individuals with disabilities. Their story of hope and courage is true. The musical will be performed Sept. 26 at the Sorg Opera House, Middletown.

Vocalists are needed for the chorus in all ranges. Auditons are Tuesday and Wednesday (Aug. 15-16) beginning at 7 p.m. in the First Presbyterian Church, Middletown. Call 513-425-7707.

The Sycamore Community Summer Singers have been singing ambassadors for Cincinnati in two European tours – and they’re aiming to make it three. Linda Gartner, director, will lead the ensemble of high schoolers on a June 2007 tour to the cities of Prague, Rothenburg, Strasbourg, Basel and Innsbruck. She’s holding auditions for the chorus 10 a.m. to 2 p.m. Aug. 26 at Sycamore Junior High School, 5757 Cooper Rd. Interested students should call her at 513-984-3361 or e-mail gartnerl@yahoo.com.

Kids in the news: Two North College Hill High School students were chosen to perform in the All-Ohio State Fair Band at the Ohio State Fair, now in its last week. They are Rickey Logan, Jr., performing on flute and piccolo, and Megan McMahon, who plays clarinet. The band has 200 members from every Ohio county, and it performs daily during the fair.

Two musicians have been honored by the Cincinnati MacDowell Society. Josephine Hsieh, a pianist at the University of Cincinnati College-Conservatory of Music, and Talia Broering, a voice major at Northern Kentucky University, are the 2006 winners of Artist Grant scholarhips awarded by the Cincinnati MacDowell Society to area artists. Hsieh received a $1,000 award and Broering received $500.

Established in 1913, the Cincinnati MacDowell Society supports the MacDowell Colony in Peterborough, N. H., a retreat for writers, painters, sculptors, composers and other artists. Local luminaries who have received the MacDowell Medal for contributions to the arts community include the Cincinnati Pops’ Erich Kunzel.

On Friday, May Festival maestro James Conlon is conducting the United States premiere of "Ogelala," a ballet by Czech-Jewish composer Erwin Schulhoff, at the Aspen Music Festival in Colorado. This summer, Conlon included a number of works by Schulhoff at Ravinia, where he is music director. (See the review, below.)

Also in that concert: Chinese phenom Lang Lang, performing Mozart’s Piano Concerto No. 17 in G Major, K. 453. Tickets: 970-925-9042 or visit www.aspenmusicfestival.com.

Jazzing up Cincinnati

Back to the jazz scene: A few weeks ago, Steve Hoskins wrote me a letter about the story, "A Faded Jazz Scene" that ran in the Enquirer in Feb. Steve is a musician with more than 35 years of experience in the nightclub, recording studio, TV, musical theater and jazz venues in our area, he says.

"Yes, the jazz scene has faded," he says. "But the music is still very much alive and kicking. There are many world class musicians in the local area still pursuing their art for one reason: their passion for the music.

"And yet, we do have some added disadvantages in Cincinnati. The absence of a radio station devoted to jazz makes it extremely difficult for jazz artists local or otherwise to be heard in the area.

"Also, lack of significant press coverage adds to the difficulties a musician faces in filling the seats of any venue."

So what’s the solution for a Cincinnati jazz musician? Market, and adapt, he says.

He’s put together a group of eight great Cincinnati musicians, forming The Jazz Circle. The group includes two-time Grammy nominee Bill Cunliffe. Their first CD, "Joshua," which came out in June, has had airplay on more than 85 stations in 32 states and Canada. Check it out! CD: $16.95 plus shipping, at thejazzcircle.com

Opera poll

Don't forget to vote for your favorite Cincinnati Opera production, here!

And if you missed the season wrap-up story, here's the link!

Chicago pics

Above: The orchestra shell at Ravinia, summer home of the Chicago Symphony Orchestra.
Next: Photo of Millennium Park in Chicago, with the Jay Pritzker Pavilion designed by Frank Gehry, courtesy of Millennium Park, Chicago.