Chris Coletti Checks the Box

By Alyssa Pry

What does it take to call yourself a professional musician? Is it attending Juilliard? Is it hearing yourself on the radio, or playing with a professional orchestra? Is it becoming a performer with a world-renowned ensemble?

Trumpet player Chris Coletti has checked all of those boxes, but his moment came much sooner. 

“As soon as I was paid, the day I deposited a check for playing music, I called myself a professional,” Coletti joked. “I was probably 14 years old.”

Coletti will be performing Anthony Barfield’s North Star with Brooklyn Wind Symphony at this Sunday’s MMC Modern Wind Symphony Concert. He may have been joking about that check, but Coletti takes his career seriously, and is quick to point out just how lucky he feels to do what he loves each day.

“It’s not a right that you become successful with a music career,” Coletti said. “Even if you’re the best, or you’ve worked the hardest, there’s so much luck involved, there’s a lot of chance, a lot of timing.”

And making it as a professional musician is not a straight shot to the top. 

“There’s really no path. You have to make your own path and that’s good news and bad news,” he said. “Obviously that’s really hard, but good news in the sense that if [you’re] not able to fit into a box or don’t follow a path of someone else if that’s not your natural inclination, you would be able to succeed.”

Despite the factors and challenges, Coletti has built an exciting professional career. He is a trumpet player with the Canadian Brass, and spends much of his year touring with the world-renowned quintet. But even joining the famed group strayed from the traditional musical path.

“The audition was not what most people would expect. It’s not an open audition. It’s really more like the way a band would find each other, because personality and chemistry is so essential,” he said.

Coletti met a former trumpet player while he was a student at Juilliard, and was asked to play on a recording. After meeting and performing together, Coletti realized what was really going on.

“We hung out, we played duets as trumpet players do,” Coletti joked. “And what I came to know later was that us playing together, it was almost like a secret audition,” he said. “The [Canadian Brass]  were looking for someone and they weren’t doing it the way they had in the past. They wanted their trumpet player to choose his partner. And that’s the way he chose to do it.”

Playing professionally has opened doors to many new experiences for Coletti, and performing with the Brooklyn Wind Symphony is an opportunity to merge many of his worlds. He and composer Anthony Barfield attended Juilliard together, and performing side by side with New York Philharmonic principal trombonist Joe Alessi is something Coletti is especially excited for.

“It’s a real thrill; it’s a real thrill to play Anthony’s piece and it’s a real thrill to play with someone I’ve idolized my entire life - Joe Alessi is one of the greatest brass musicians ever to live. So it’s an incredible opportunity for me,” he said.

"I think there’s always this feeling of self doubt. Am I really the real thing? Am I faking it?"

Committing to a career as a professional musician requires immense skill and confidence, both of which Coletti has in spades. But he said even he had his doubts about whether he could truly make it.  

“I think it’s possible that everyone goes through this, but I think there’s always this feeling of self doubt. Am I really the real thing? Am I faking it? Does everybody just think I’m ready but I’m really not?” Coletti said.

But surpassing the self-doubt has meant Colletti has found his calling. And he’s stayed true to a realization he had in high school that he’s made his reality every day.

“I auditioned for Laguardia School of Music and Art in Manhattan and that’s where I went, and that was really the moment I felt like I was around “my people” for the first time in my life,” Coletti said. “I really felt like everyone was really dedicated to whatever their art was. And I decided these were the kind of people I want to be surrounded with for my life.”

Posted on March 14, 2017 .

Into the Universe with Composer Anthony Barfield

By Alyssa Pry

Composer Anthony Barfield has his head in the stars.

“We all come from the same place, we’re all one - the question is, where do we come from?” he mused about his piece Red Sky, one of two pieces the MMC will be performing at Modern Wind Symphony on Sunday, March 19th.

Both Red Sky and North Star draw from Barfield’s fascination with what exists both around and above us.

“When I got into music and started traveling, I started seeing there were different religions and everyone believed that was their truth. I sort of had a big question mark in my life for, what is spiritualism to me? Where do we come from?” Barfield said. “That big question mark put me on a quest to find what the best meaning was for me. So by studying that, I became fascinated by the creation of us.”  

Aside from this deep exploration and introspection, Barfield finds himself firmly planted in this world as both an accomplished musician and talented composer. As a child growing up in Mississippi, it was a music teacher who pulled him aside after recognizing his talents.

“I always knew I could hear things a certain way. It was just sort of a gift,” he said. “So one day they called me in and said, Anthony, what is this note right here? And I told them, and they said, ‘Well you have what’s called perfect pitch.’ So that was cool to define.”  

His fascination and talent for music lead him to Juilliard, where he began studying trombone performance. But once he was there, he decided to focus on composition instead, a change he says happened organically.

“When you’re in a place like Juilliard, I never thought about it as, ‘Ok, it’s a really difficult school, I’m going to get through it and then quit [playing],’” he said. “It was a situation of being in the moment, living in the moment, soaking up as much as I could, regardless if it was trombone or composition, just as much art as I could, and running with it.”

For Barfield, this attitude has seeped into the way he approaches composition.

“I consider myself to be a creator,” he said. “I consider myself to be an emotional composer. So the organic part of it is that I try to make sure I’m attached to the piece emotionally.”

Grand Street Community Band will be performing Red Sky with trombone soloist Jon Whitaker, Professor of Trombone at the University of Alabama. The piece is based on the concept of the Big Bang Theory, and Barfield explained his process for how he wrapped his head around such a vast idea.

“I tried to get into the true feelings - the piece is about the creation of life as we know it,” he said. “So to get into it, I did a lot of meditation to steal the sense of creation. And then from there, I write down aural notes - [for example] the word ‘bang’ - something that will spark an idea. Then I come up with the chord structures and the melody comes from the chords.”

“That’s the most important thing for me - making sure I can stay true to who I am with my music.”

Barfield drew on similar inspiration when composing North Star, which Brooklyn Wind Symphony will be performing with soloists Joe Alessi, the principal trombonist with the New York Philharmonic, and Chris Coletti, the principal trumpeter with Canadian Brass.  The piece is based on the journey through the Underground Railroad and the way African Americans used the night sky to guide them to freedom.

“African Americans, because they could not read, would learn the patterns of the North Star and use those patterns in the sky from the Big Dipper as a way to follow the path,” he said. “They travelled at night and they basically used nature and the universe to help them escape.”

Barfield said North Star holds another, more current, political message, and says it was the first piece where he made a conscious choice to make a political statement with his music.

“It’s a time where there is a lot of police brutality going on, and we need a modern underground railroad for people who are being shot by police. I felt a strong connection with that,” he said.

For Barfield, the message and the music need to ring true to who he is.

“That’s the most important thing for me--making sure I can stay true to who I am with my music.”

Barfield says he’s been lucky to work with collaborators who respect his vision and give him the freedom to explore his ideas without restriction.

“Every piece, I just want to make sure I stay true to myself. I do appreciate that people give me flexibility, because that’s the only way that I will make a voice for myself.”

Happy Holidays from the MMC!

That's a wrap on another amazing year with the MMC! Hard to believe it's almost time to ring in 2017, but 2016 was an awesome year filled with music making and community. This year, our ensembles put on ten concerts, premiered symphonies and new band works, invited talented guest conductors to the podium, celebrated our amazing community with another awesome year at band camp, and expanded the MMC to include a brand new ensemble, Kings County Concert Band! The MMC is unstoppable...who knows what 2017 will bring? See you all on the other side, and have a happy holiday season!

Illustration by Rebecca Pry

Posted on December 21, 2016 .

Johan de Meij Trusts His Instincts

By Alyssa Pry

It’s 8:15 on a Monday night and Grand Street Community Band is warming up for the second half of rehearsal. Mouth pieces are adjusted; a spit valve is emptied. The hollow boingggg of the tympani reverberates from the back row. Music is shuffled—the line-up for the rest of the evening is Movements I and V of Symphony No. 1, The Lord of the Rings, by Johan de Meij.

The conductor comes to the podium and holds up a slim bound score, waving it in front of the band, before dropping it onto the stand.

“I don’t really need this,” he says, to laughter. And why would you, when you’re conducting one of the most well-known pieces of wind band repertoire—that you yourself composed?

Johan de Meij stood on the podium on Monday night and will be conducting his seminal wind band work, Symphony No. 1, The Lord of the Rings at MMC Winter Winds this Saturday, December 10th at 7 PM. By his own estimation, the symphony has been played thousands of times in the 29 years since he composed it.

“It immediately put me on the map as a composer,” de Meij said. “It really started to be played all over the world. It’s fantastic. I had no idea when I was writing it that it would be such a success—I could not predict that.”

The Lord of the Rings was de Meij’s first concert band work as a composer. He transitioned to composition after playing for several years with professional ensembles throughout the Netherlands.

“May 1, 1977 [was when] I got my first job as a euphonium player in Amsterdam. That’s what I’ve been doing ever since,” he said. “I started playing in a wind orchestra, [and] that inspired me to start writing myself.”

“When I told people I was writing a 45-minute symphony, people told me, ‘Forget it. No one is going to play it, it’s too long.’” 

He began composing The Lord of the Rings in 1982, but before he even sat down to write a melody, he knew what he wanted to hear.

 “I knew already that I wanted to write a large-scale substantial work for wind orchestra. This was in 1982, and there weren’t really any longer works than 16 minutes in the repertoire,” he said.

At first, his idea was not met with the enthusiasm he had hoped for.

“When I told people I was writing a 45-minute symphony, people told me, ‘Forget it. No one is going to play it, it’s too long,’” he said. “I said, ‘I know works that are five minutes that are too long, so let’s see what happens.’ And it turns out I was right.”

Those instincts paid off. The Lord of the Rings premiered in March of 1988 and catapulted de Meij to musical success. Just a year later, he won the prestigious Sudler Composition Prize, further cementing his place, and his symphony, in the wind band canon.

The five-movement symphony is based on the Lord of the Rings trilogy by J.R.R. Tolkien, and de Meij is quick to share the credit for his symphony’s success.

“I think if it was just called Symphony No. 1, I don’t think it would’ve been as popular. But making the connection with the famous book was the trick,” de Meij said.

"That piece saved my life in a very good sense."

Each movement is based on a character or event from the book, and are given themes, which are musically intertwined throughout.  

“It’s really scripted—it paints the picture of the main characters in a clever way,” de Meij said. “Every character gets their own tune, which makes it very recognizable. I think that explains the success of the piece. It’s contemporary and it comes from the heart.”

The success of his symphony opened the doors for de Meij, and he leapt straight through and hasn’t looked back. He travels around the world conducting and collaborating with musicians eager to bring his music to life, and that enthusiasm is what draws him to work with the MMC.

“I think it’s important to have great music going on in all parts of New York,” he said. “So that’s why I support [the MMC] as much as I can. And the level of playing has gone up so dramatically in the last five years—they’re really playing at a high level, which I love.”

With his symphony still being discovered by musicians across the world, interest in his music shows no signs of fading. And standing on the podium, his arms up, the music swirling around him, de Meij doesn’t seem to mind.

“That piece saved my life in a very good sense,” he said. “I’m convinced that when I close my eyes forever, the piece will still be played.” 

Posted on December 7, 2016 .

Winter Is Coming...

We're just a little under 3 WEEKS AWAY from the next concert in our MMC Season--Winter Winds, a joint concert with the Brooklyn Wind Symphony and the Grand Street Community Band. On Saturday, December 10th, we'll be warming up our cold fingers with a rousing rendition of  Dimitri Shostakovich's Festive Overture; thinking fondly of fall as we play  Eric Whitacre's October; getting a full blast of fire from Phillip Sparke's The Year of the Dragon; before leaving the chilly New York winds for a trip to space for Gustav Holst's Jupiter, from The Planets.

Thanks to Alex Rice for the beautiful artwork! Looking forward to a full afternoon of wonderful music! 

Posted on November 21, 2016 .

Second Annual MMC Costume Contest!

We're getting close to pulling back the curtains for MMC's first concert of the 2016-17 season on Sunday, October 29th at 3 PM with Things that Go Bump in the Night, Part II.

Our brand new ensemble, Kings County Concert Band will be premiering on the Grand Street stage with a seasonal-appropriate performance of David Holsinger's A Little Mystery Music. And MMC clarinetist Allison Heim summed up Brooklyn Wind Symphony's program as "a drunken Scotsman interrupting a witches' dance; snake-killing; pandemonium; and ya know, Bach's Toccata and Fugue." If that doesn't intrigue....

With all this spooky mystery and excitement in the air, we're getting in the Halloween spirit with the 2nd Annual MMC Halloween Costume Contest. Last year, BKWS bari sax player Anya Combs took the witch's crown for her awesome Edward Scissor Hands costume ...think you can top that? Send your photo to alyssapry@metropolitanmusiccommunity.org by NEXT WEDNESDAY, OCTOBER 26TH. Voting will open on the 27th and the winner will be announced on Halloween! Good luck! 

Posted on October 20, 2016 .

On the Podium—Jasmine Britt and Laurel Stinson

We've made it to our final edition of "On the Podium," and last, but certainly not least, is Kings County Concert Band conductor Jasmine Britt and Grand Street Community Band Assistant Conductor Laurel Stinson, who both recalled an inspiring rehearsal with composer David Maslanka as a musical highlight! Lucky them! 

Missed an installment? Read about Jeff and Kimberly here, and Brian and Frankie here! Thanks to all of our amazing conductors for sharing! 

My favorite piece I've ever conducted is...

I spend a great deal of time conducting beginning/intermediate level players so I'm always interested in finding works that have aesthetic value without being technically challenging. Some of my go-to works would be Timothy Broge's Sinfonia Six or David Holsinger's On a Hymnsong of Phillip Bliss

My Favorite MMC Moment is... 

Working with Dr. Maslanka on his Fourth Symphony at an open rehearsal with BKWS. It felt like the walls between composer, conductor, ensemble and audience had been broken down and we were all a part of a communal musical experience. Dr. Maslanka worked with the students at Grand Street Campus so it was great that they were included in that moment too.  

My (non-music!) related hobby is...

I started taking dance classes while I was at FSU. I took two semesters of ballet, a semester of modern dance and a semester of African dance. Since moving to NYC, I try to take a class here and there. I even convinced a group of friends to take a Valentine's Day tango lesson. Nothing helps you turn a music phrase better than dancing through one.  

I do what I do because...

I love music and I want to facilitate the music making of others. As much as I'm for musical appreciation, I believe strongly in music participation regardless of level or ability. I think I'm lucky that I get to expose my students to music performance and then at the end of the day, I get to get adults back into the fold at night.  

 

My favorite piece I've ever conducted is....

I can't  believe I have to pick one--that's just evil...because I love conducting music. Period. But if I must decide, I have to pick Lincolnshire Posy by Percy Grainger. The six movements of the piece vary greatly in character and mood as well as embody the nature of folk music. This piece is a well balanced example of challenge for the player and the conductor alike while maintaining musical aspects that keep the audience member satisfied and inspired. Just GREAT music. 

My Favorite MMC Moment is....

Two separate occasions. My favorite moment was entering the stage at Carnegie Hall before Grand Street Community Band's performance in 2015. But my favorite memory comes from a rehearsal of David Maslanka's music with Dr. Maslanka himself. The time spent in that rehearsal refueled the inspiration and reminded me why I do what I do. 

My (non-music related!) hobby is....

Again with the picking one...GOLF! I love golfing and being outdoors just as much as I love music. But golf doesn't give the love back as music does. There are a lot of mental parallels between navigating the course successfully and leading from the podium--not to mention the peaceful nature of enjoying outdoors. 

I do what I do because…

I do what I love. During the teaching day, I primarily lead Core music classes and vocal music. Although I find this extremely satisfying, I'd rather be in front of an instrumental ensemble of any age. The adult musicians I get to work with every week remind me why I do what I do during the day. We get to bring art and beauty into the world--and have fun making music together! 

 

 

Posted on October 6, 2016 .

On the Podium—Brian Worsdale and Frankie Dascola

We're getting to know the artistic staff of the Metropolitan Music Community in our new series, "On the Podium." Last week, we met Jeff Ball and Kimberly Roof, who both conduct the Brooklyn Wind Symphony, and this week we're meeting Grand Street Community Band Conductor Brian Worsdale and Kings County Concert Band Assistant Conductor Frankie Dascola, who both share a love for an MMC favorite, the Holst Suite in E Flat! 

My favorite piece I've ever conducted is...

The Holst Suite in E Flat. It is in my opinion the epitome of writing for the idiom and I always enjoy conducting it. The life that an ensemble breathes into that work is so palatable. 

My Favorite MMC Moment is...

A tie between our first rehearsal and band camp 2015! There was something truly special about that first year of band camp and it has only gotten better. 

My (non-music related!) hobby is....

Christmas Decorating and in particular the design of my massive Christmas village. I started off with a small handful of pieces and since then it is like a city. I also enjoy antiquing. 

I do what I do because…

It is my way of contributing to the joy of life and I feel that we need more opportunities like this to remind us why we live in the first place. 

My favorite piece I've ever conducted is...

The 3rd Movement of the 1st Suite in E Flat. It's one of my favorite works in all of band literature. I enjoy the 3rd movement the most because of its complex textures and many moving parts. It is unlike any band work I have ever played--I studied [the whole piece] extensively in college and the 3rd movement changed the way I looked at band works in general. I love playing the movement and teaching everyone about its moving parts. 

I'm also intrigued by Illuminations by David Maslanka. It's the piece I want to conduct with an ensemble one day. The layering and textures are complex and the process to make the music work is the journey I'm most excited for, once I get a chance to program it. 

My Favorite MMC Moment is...

BKWS went to WASBE in 2015 and played La Fiesta Mexicana. Afterwards at the reception, Viet Cuoung came up to me and I just remember him being so happy. He said, "Oh my God Frankie, I just want to crawl into yours and Jasmine's sound!" That was incredible. I got to check off one of the many things on my bucket list by Viet's response is the best.  

My (non-music related!) hobby is....

I am an avid comic book reader and collect the works of Kurt Vonnegut. I'm currently reading my way through his novels in publication-order and then his sets of short stories and plays. My bookshelf only has comics and Vonnegut. I love his writing and it speaks to me on a deeper level than any other author.

I also enjoy amateur astronomy--I'm really good at astronomy facts that don't involve calculus and I'm obsessed with space. I attend frequent Astronomy Talks and constantly win at space/astronomy trivia! I also bike a lot...50 miles a week. 

I do what I do because…

It saved my life, and who knows, maybe I can save a few. 

 

 

Posted on September 30, 2016 .

On the Podium—Jeff Ball and Kimberly Roof

The Metropolitan Music Community is back for our ninth year! With a successful first week of rehearsals under our belt and over 220 members playing in our three ensembles, we have a dynamic and exciting year ahead of us! 

None of this would be possible without the tireless work of our conductors who bring the MMC to life each Monday, Tuesday, and now, Wednesday nights! Over the next few weeks, we'll get to know the people on the podiums--starting with Brooklyn Wind Symphony Conductor Jeff Ball and Assistant Conductor Kimberly Roof!  

My favorite piece I've ever conducted is...

David Maslanka's Symphony no. 4. It is a piece that makes the hair stand up on the back of my neck - a truly amazing aesthetic experience. This piece is an incredibly difficult technical and emotional challenge for both myself and the ensemble musicians, but when it comes together - wow! It's the kind of piece I never thought I would get to conduct in my lifetime, which is what makes MMC and specifically a group like the Brooklyn Wind Symphony even more amazing. A longtime member of MMC and BkWS described our performance of this work in 2013 as a time "when the spirit was in the room". I think this is a perfect way to sum it up.

My favorite MMC memory is....

hard to choose so I'll pick two!

1. Performing H. Owen Reed's "La Fiesta Mexicana" at the WASBE Conference in 2015. We had work very hard on this exceptionally terrifying and challenging piece of the repertoire, so to perform it in front of a packed house of band conductors and musicians - nailing it - was awesome. I was so very proud of all the hard work both inside and outside of rehearsal that our musicians contributed. 

2. Performing on Euphonium on the first concert with the reformed Grand Street Community Band after the initial split for our organization. Community groups very rarely ever spawn additional ensembles, and to split in half as we did is even rarer. There were a lot of people who predicted failure for the new GSCB - which was a very real possibility. I am thrilled that the opposite happened and has continued to happen as we launch the Kings County Concert Band this fall.

My (non-music related!) hobby is....

Soccer. I've played my whole life (somehow I'm still terrible) and I continue to play in two competitive leagues on Thursday and Friday evenings, as well as pick-up games whenever I can find time. I'm also one of those crazy people that wakes up at 7 in the morning on Sundays to watch live games from Europe (go Arsenal!). 

I do what I do because....

making music is a vital part of human nature. I believe that it is a horrible side effect of modern society that most humans have stopped making music on a daily basis. Before the phonograph all households that could afford it had pianos, and those that couldn't afford it created folk songs, sang in taverns and participated in town or workplace bands. Humans have been making music much longer than recorded history, and maybe even longer than our species has existed. It is a vital part of feeling whole, and I strive to do what I can to bring the joy of music making back to as many people as possible. 

My favorite piece I've ever conducted is...

Anything by Percy Grainger--it's such good music to play and perform! Also, I like wind ensemble music that is modern and uses contemporary techniques and interesting harmonies. 

My favorite MMC memory is....

Definitely our WASBE performance. We've never sounded better and I don't think a community ensemble has ever put so much emotion, focus and love into a single performance. 

My (non-music related!) hobby is....

I compete in triathlons and I'm also a pretty good cook. 

I do what I do because....

I couldn't possibly imagine doing anything else. I love teaching music! 

 

 

Posted on September 22, 2016 .

Space for All—A New Ensemble Takes Shape

By Alyssa Pry

If you spend any time around people in the Metropolitan Music Community these days, the buzz is swirling around the Kings County Concert Band, MMC’s newest ensemble, which will have their very first rehearsal Wednesday, September 21st at Grand Street High School. KCCB will be joining the MMC roster with Brooklyn Wind Symphony and Grand Street Community Band, as the MMC continues to expand at a rapid and exciting pace!

Jasmine Britt, Kings County Concert Band's artistic director and conductor. 

Jasmine Britt, Kings County Concert Band's artistic director and conductor. 

At the helm of this brand new group is Jasmine Britt, who has played with both BKWS and GSCB, and was a founding member when the organization started in 2008. Now, eight years later, Britt finds it hard to believe how far it’s come.

“I had no idea it was going to grow this large,” Britt said with a laugh. “What I notice is there are a lot of motivated people in the group, and our musicians are the biggest asset, both musically and otherwise.  We get momentum going for one project and that helps with the next project.”

That momentum has been a driving force in the MMC since the beginning, and creating a new band was a response to the overwhelming and growing demand for musical opportunities for non-professional musicians.

“The original artistic plan [of the MMC] is we want to be in a position where we don’t ever have to turn anyone away,” Britt said. “So we had plenty of people interested in playing, we just didn’t have anywhere for them to go. So the third ensemble was imminent, just to stay true to the mission of never turning anyone away.”

Over the past several years, BKWS and GSCB have continued to grow both in size and in skill level—another hurdle the MMC hopes to straddle by creating a new ensemble that caters to musicians who bring their passion and love for music but may feel intimidated or nervous to join a group.

“There are many people that put the horn away for many years—can we create a space for those people, who maybe didn’t continue through high school or didn’t get the chance to play in high school?” Britt said.

Britt also sees KCCB as an opportunity for players in the MMC’s existing ensembles to play new instruments and stretch their artistic talents.

“Basically we have the opportunity to kill 2 birds with one stone—we have a place where experienced musicians can explore secondary instruments, and at the same time we can create a safe music space for people to rediscover the skills they had.”  

Starting this project from the ground level may be intimidating, but for Britt, who is also a band director at Grand Street High School, KCCB is an extension of what she is already dedicating her life to do.

“It’s really nice to really have everything you want—to create art in a really viable and vibrant space, and at the same time be creating a community."

“This is the one thing I do for a living. I spend a lot of my musical time doing sectionals and working with this particular level of musician,” Britt said.

She’s been spending time listening to musical programs to curate a selection of works that will highlight the identity of the new ensemble—as a space for musicians to learn and express their musical personalities at varying skill levels.

“What I’m thinking for Kings County Concert Band is exploring things you would get from first year players to something a solid high school player can perform. [But] I don’t want something for kids. I want to keep the dignity of the musician and everything age appropriate, but also keep it skill appropriate,” she said.  

Putting together this puzzle has been a challenge, but it also carries the thrill of what the MMC is capable of providing to eager musicians. And what grounds KCCB and Britt’s goals for her new ensemble are the same values that have created such a vibrant and welcoming community over the last eight years.

“You’re creating a community. We’re a city of 8 million people, yet it can get lonely if you don’t have a group you can connect with,” Britt said. “It’s really nice to really have everything you want—to create art in a really viable and vibrant space, and at the same time be creating a community. So it’s a win-win all around.” 

Posted on September 15, 2016 .

MMC Band Camp 2016!

What an incredible weekend at band camp! For the second year, the Metropolitan Music Community gathered at French Woods Performing Arts camp for an inspiring and magical Labor Day weekend. We hit the ground running on an exciting musical program for Grand Street Community Band's first cycle, and enjoyed the fresh air and beauty of the Catskill Mountains! We swam, hiked, bowled, ate, drank and laughed our way through the weekend, and then loaded up a big yellow bus back to the city, relaxed and ready for a brand new year with the MMC! Special thanks to everyone who made this weekend possible, especially GSCB conductor Brian Worsdale, whose generosity is unmatched! 

In true summer camp fashion, check out a scrapbook of our weekend adventures, and we'll see everyone in a few weeks! Reminder that rehearsals kick off September 19th (GSCB), September 20th (BKWS) and September 21st (KCCB) from 7-9 PM at Grand Street Campus High School. 

Click image to enlarge. 

Posted on September 8, 2016 .

MMC Artist Series: Michael Cuadrado Sees Another World

We're wrapping up another incredible year with the Metropolitan Music CommunityBrooklyn Wind Symphony will be closing out the 2015-16 season Saturday, June 11 at 7 PM with their Spring Concert, a joint-program with the New York City All-City High School Concert Band. BKWS will be performing Aurora Awakes by John Mackey and Colonial Song by Percy Grainger, among other works.  

Our final Artist Series is Grand Street Community Band clarinetist Michael Cuadrado. Michael is a Drawing major at the Pratt Institute in Brooklyn, and has been playing with the Grand Street Community Band for the last three seasons. Michael is an incredibly talented artist, and was given the artist's blessing/curse of having free-reign over the direction of the program art, after being told this concert had "no theme." Read about how Michael's piece took shape, and see the piece in progress along with much more of Michael's work in the slide show below! 

Finding a Feeling...

"When I was first approached to do a commission, I was told that this was the only cycle that didn't have a theme. That worried me a little, but I knew I could put something together. So this may have been just how I felt, but the pieces from this cycle posses a feeling of [being] otherworldly. They have these elements of being about about greater things, and that's what really drew me in. So I guess you could say I gave the cycle a theme [and] found it easier to make a piece that way."

Getting Started...

"The first thing I did was listen to all of the pieces but decided that it would be a little difficult for me to take something from all of them. I really had to listen to all the pieces over and over again, so I could get a sense of what the atmosphere was throughout every piece and try to make something cohesive. So I narrowed it down to specific ones--the ones that I instantly felt some kind of connection or reaction to. Aurora Awakes was the main one that has what I described earlier--that feeling of otherworldly. So I went with that because it felt right."

Letting Ideas Take Shape... 

"I didn't draw or sketch anything before hand, but I had a pretty good idea of what kind of color palette I wanted, and I knew I wanted it to be figural. So I just kind of made sketches in my head; it was all ideas at first. I also knew that it would take me some time to finish it and that things could change along the way, and if that was the case then I would just go with it. A lot of things went through my mind as well before I made the piece--what the color palate would be if I did decide to use color; if I was going to draw a person, what gender would they be; what material would be best for it, etc. Those aren't just the decisions I made for this poster--those are the decisions I have to make whenever I make an art piece." 

Revisit all of the Artist Series from this year right here. 

Posted on May 31, 2016 .

A Night in Ireland with Victor Herbert

The Grand Street Community Band is tuning up for an entertaining and lively night of Irish music at the Gerald Lynch Theater on Friday, May 13th for a special performance of "Victor Herbert's Ireland: Music of the Emerald Isle." Our fingers will be flying, your toes will be tapping, and we'll all be booking tickets on Aer Lingus by concert's end! 

The MMC blog teamed up with artist Rebecca Pry to learn a little more about Victor Herbert, a Dublin-born musician, a prolific composer, and an advocate for musician and composer's rights. Read on for some quick facts about Herbert, and be sure to snag your free ticket to Friday's concert here! Sláinte! 

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Posted on May 11, 2016 .

MMC Artist Series: Maggie Nelson's Joyful Dance

Grand Street Community Band is lacing up our step-dancing shoes and pinning on our clovers for two performances of Irish Night at the Pops! Our first performance will be Friday, May 13th at the Gerald W. Lynch Theater, for "Victor Herbert's Ireland: Music of the Emerald Isle."  Then we return to our stomping grounds at Grand Street High School for our final performance of the 2015-2016 season on Friday, June 3rd at 8 PM. GSCB will be performing an exciting and entertaining program, including Leroy Anderson's Irish Suite and Percy Grainger's Molly on the Shore, among many other traditional tunes! 

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GSCB trumpet player Maggie Nelson created the program art for this cycle, drawing on her own background and artistic style for inspiration. Maggie is an artist and art educator, and attended the School of Visual Arts in New York City. She joined GSCB three years ago after searching for a place to play, since, "Trumpets aren't great in small apartments with roommates!" Read on to hear about Maggie's process and how she dealt with an artistic curve ball, and see more of her work in the slideshow below! 

 

A Cultural Connection...

"I have a particular relationship to Irish music--I'm half Irish and did Irish step dancing when I was little, and heard a lot of the music from an early age. It feels very familiar to me. I didn't want to highlight anything very nostalgic or sentimental, but I did want to find something essential about playing this traditional music on the anniversary of the Easter Rising." 

Her Style, and a New Theme...

"It was tricky, because we had a different musical theme for this concert when I did the original piece last fall, which was inspired by "A Night at the Pops." Later, it changed to Irish Night, so I did a second piece where I took the themes from the first [piece] and inserted them into something like the Irish countryside. For both, I had to think through all of my tropes from my own drawing practice and find ones that fit with the music, [like] my dancing, joyous figures; my magical creatures that reminded me of Celtic fairies, sprites and ghouls; my wide-mouthed singing figures, and my water color landscapes. Something new that came out of the first drawing was incorporating my magical, singing creatures with gold tubing and bells reminiscent of wind instruments."  

Inspired by Dance...

"I was thinking a lot about dance, since that's what most of this music was originally for, and I was thinking about communities rising up together and celebrating their culture. [So] it was a combination of the dance music--the reels and jigs--that made me think movement and joy and brightness; and of the ballads--with their sonority and somberness--that made me think of lifted voices in unison."

Art, Everyday...

"I'm an art teacher in an after-school program at an elementary school in Sunset Park. It's the best! Making art with kids is really important to me, and I love working in after-school [programs] because there's an understanding that it's not like the rest of public school--you're trying to do something different, something better. Then at home I make art, while trying to figure what I'm able to make in my little room with little time! I draw, felt, and sew primarily. I make objects out of fibers and ceramics and I make drawings and books. I'm also Quaker and spend a lot of time in that community--right now my most exciting project is organizing an artist residency at a Quaker summer camp in Maine, called Art Camp!"

Posted on May 4, 2016 .

Getting to Know...Ethan Bourdeau

Spring is (sorta, kinda maybe?) here, which means a new season, a new concert cycle, and meeting new members! Stepping up to the plate this month is Brooklyn Wind Symphony euphonium player Ethan Bourdeau! Ethan joined the BWKS in September and brings with him a laundry list of musical talents. (If there's ever a conch horn solo, Ethan's your guy!)

Name: Ethan Bourdeau

Occupation: Architectural Acoustical Consultant

What's your favorite thing about your day job? I enjoy learning about and practicing social responsibility in noise mitigation, especially in such an urban environment like NYC where everyone is likely to be affected in one way or another. 

Instruments: Euphonium, Jazz/Classical Guitar, Bass, Mandolin, Cello, Charango, Trombone, Tenor Horn, Tuba, Keyboard, Percussion/Kit, Conch Horn…I can go on, but I love learning new instruments, especially ethnic/world instruments…it’s totally an obsession.

How long have you been playing with the BKWS? I just joined this past September!

How did you get started with the MMC? Once I knew I was moving to the city, I wanted to find a way keep playing the Euphonium. Naturally, the BKWS seemed like a great community of skilled, passionate musicians that I am fortunate to now be a part of!

What's your favorite MMC memory? The day before the Michael Markowski CD recording I came down with pneumonia and was worried it would keep me from performing well for such a long period of time, let alone render me too sick to come out at all. I’m not sure what it was, but during the recording session, despite being sick, I managed to out-perform how I had been playing in the rehearsals leading up to it…it was wild stuff!

What's the first thing that comes up on your ipod when you press shuffle? Ov Zarmanali by Tigran Hamasyan (the dude is one of my absolute favorite musicians!)

Dream spring break destination? Mauritius

What is your typical Sunday routine? Cycle for the better part of the day, try a new recipe for dinner, and practice some guitar before bed.

Give us a "local" New York/Brooklyn recommendation: TØRST in Greenpoint is easily my favorite hang in the city. The best beers and, supposedly, exquisite dining in the back restaurant.

Finish this sentence: "I knew I was a musician when....” …I pleaded with my elementary school teacher to give the “stand-up-in-front-of-the-band" euphonium solo to me instead of the trombone player so long as I promised to practice more at home.

Posted on April 12, 2016 .

A Look Inside "Tetelestai" – Talking to Andrew Boss

By Alyssa Pry

These are classic music questions: How should a piece of music be interpreted? What should the listener feel? And who is responsible for shaping that experience? Composer Andrew Boss is purposefully leaving those questions unanswered with his symphony Tetelestai, which Brooklyn Wind Symphony will be performing at MMC’s March 20th concert, Modern Wind Symphony.

“I take an interpretive approach [to composing],” Boss said. “I’m very fascinated by interpretation and the cognitive experience behind music.”

The 27-year-old composer burst on the wind-band scene with the premiere of his 2014 symphony Tetelestai, which was performed by the University of Texas Wind Ensemble, where he is also pursuing his Doctorate of Musical Arts in Composition.

The symphony is framed around the biblical account of the death, fall and resurrection of Jesus Christ. But instead of retelling the story, Boss wanted to interpret the images and emotions he felt through music.

Boss also looked to the meaning behind the word “Tetelestai,” which is Greek for “It is finished” and is supposedly the last word spoken by Jesus before his death.

“I’m absolutely fascinated by religion, and I would call myself religious, with a few reservations,” he said. “But what was more fascinating to me was the story line, and the word “Teleo,” which implies that something has been done that can’t be reversed." 

Boss had already completed the first movement of the symphony and planned to have it performed as a stand-alone piece. But it was his collaboration with renowned conductor Jerry Junkin that introduced the idea of expanding it into something larger. 

“I knew if there was anyone I wanted to perform this, whatever it would become, it would be Jerry Junkin,” Boss said. “And the piece was read and it was great, and I thought, well this is going to be a bigger piece.”

Junkin then commissioned Boss to create a new work for him, after listening to some of Boss's other work. 

“That was certainly a huge impetus in my desire to make this a bigger piece,” Boss said. “And after the first movement and before I completed the next two, I decided to bring in the religious component.”

"Different people bring in their beliefs and understanding of the world as they sit down and listen to it, and that determines how they listen to it."

Boss turned to the biblical tale to frame the three movements of his symphony. 

“I tried to clarify the three movements as the crucifixion, the battle [of life and death] and the resurrection,” Boss said.

Regardless of religious beliefs or a person’s understanding of religion, Boss wanted the listener to go on a journey--their experience with the piece shaped by their own personal connections to the music.

“Different people bring in their beliefs and understanding of the world as they sit down and listen to it, and that determines how they listen to it,” he said. “[And] how they experience it will impact what they feel about it and the images they see or feel,” Boss said. 

Boss portrayed the death of Jesus for the first movement, Homage, and was moved by feelings of betrayal, despair, suffering and death. The symphony begins with a clanging of percussion, and then introduces a distant and melancholy horn solo. The movement ebbs and flows—full bursts of sound giving way to exposed solo lines; an ominous low brass line building to a bombastic climax; before returning again to the haunting and lingering notes of the french horn. 

“[In the first movement] I portrayed the death [of Jesus] — which really gives a powerful set of feelings,” Boss said. “If you’re not religious, it’s symbolizing hardship or suffering—things that are very real in society today.”

The second movement, Tocatta, is Boss’s interpretation of the war between heaven and sin, during the three days between the death and resurrection. For Boss, it’s a conflict between two opposing forces—the rhythmic introduction to the 2nd movement swells to a frantic flurry of instrumentation, a thrilling battle cry. The movement is a constant push and pull between moments of intensity and relief.

“The second movement was about war in those three days between death and resurrection,” Boss explained. “It could symbolize an obstacle that you’re trying to overcome.” 

The symphony’s final movement, Interlude and Finale, is Boss’s portrayal of the resurrection, and he looked towards feelings related to victory and rebirth. The reflective interlude at the beginning of the movement transitions to the symphony’s soaring finale, a powerful and unrelenting crescendo leading to the final ringing notes.

“For the final movement, obviously I felt I needed to portray the resurrection. And whether that was a personal rebirth or a depiction of the resurrection—it eventually brings its way to a catharsis,” Boss said.

“[Tetelestai] gets to that point where it transcends being notes on a page and it becomes emotion...and it becomes that perfection of existence we get when we play music.”

The 25-minute symphony caught the ear of Brooklyn Wind Symphony conductor Jeff Ball, who was immediately drawn to the originality of the work.

“It’s a piece that has such a unique voice to it—there are parts that really don’t sound like anything else for the genre,” Ball said. “I really respect someone that can make the wind band sound different.”

Ball said the experience of listening to Boss’s piece epitomizes the beauty of wind band music, and for musicians, captures the joy of playing within an ensemble.

“The goal of music and the reason why we’re all here in these community ensembles is that we all at some point in our life became addicted to that feeling,” Ball said. “[Tetelestai] gets to that point where it transcends being notes on a page and it becomes emotion and it becomes power and it becomes that perfection of existence we get when we play music.”

For Boss, working with the wind band community has allowed him the freedom to explore and challenge himself as a composer. 

“Because of the friendliness and support of the wind ensemble medium, that was a huge boost to my career,” Boss said. “They’re very open to doing different things.”

Boss will be sitting in the audience at Sunday’s concert; an experience Ball says is a unique and thrilling part of the wind band community.

“It’s been amazing working with him because he’s been extremely accessible. A lot of these [composers] in the wind band world are, [which is] something we’re fortunate to have,” Ball said. “It’s really amazing; that our composers are living and they’re excited we’re doing their work. We’re literally contributing to the future of classical music.” 

Solo Spotlight: Laurel Stinson Gives It Another Go

This week, we're checking in with Grand Street Community Band soloists Lena Barsky and Laurel Stinson! They're preparing solos for two pieces on the GSCB concert program at MMC's March 20th concert, Modern Wind Symphony

In Part 2 of Solo Spotlight, we hear from Laurel Stinson, clarinetist and Assistant Conductor of Grand Street Community Band! Laurel has been performing with the MMC for the last four seasons, made her Carnegie Hall conducting debut last June with the Grand Street Community Band, and plays with the Brooklyn Wind Symphony. She's also a music educator at Grand Street High School! 

Whew! With such a full musical schedule, Laurel shared how she's preparing for her performance, what she loves Blue Shades, and her very special good luck charm. 

Click here for Part 1 of Solo Spotlight where Lena Barsky talks about her part in John Mackey's Asphalt Cocktail. 

What was your first impression when you saw the solo? 

"Yes. We meet again..." I played the solo with the Ithaca College Symphonic Band about 8 years ago. 

What part do you look forward to the most in the solo?

The bends in the jazzy style of Blue Shades are simply fun to play. I'm able to express the music freely. 

What’s the best part of playing such an exposed part in the ensemble?

I usually have my back to the ensemble as assistant conductor [of GSCB] so I'm looking forward to facing the other direction. I'll be able to perform for the audience rather than expressing the music to the musicians through gesture while the audience only gets half of the musical picture. 

What’s your practice regimen?

I am a music teacher at the Grand Street Campus so my job enables me to play my instrument. I warm up and play the solo while my students are warming up for class or after the school day is done. In a way it motivates the students because they can see what is possible through efficient practice. I only play for 20 minutes on days I don't have rehearsal. I play in various rehearsals for six hours a week including Monday nights. 

How do you deal with pre-solo nerves/jitters?

Science! I eat a banana. A college professor told me the potassium helps with anxiety.

Any good luck charms?  

I always wear a ring that belonged to my mother, may she rest in peace. I play for her and the memory of her warm and inspirational spirit. She spent her last days at Grand Street listening to the music of the Metropolitan Music Community--she never missed one concert throughout the 15 years I've been playing the clarinet. 

Solo Spotlight: Lena Barsky's Wild Ride

Grand Street Community Band is tackling a roster of demanding works for MMC's March 20th concert Modern Wind SymphonyTwo pieces this cycle feature huge (and hugely challenging!) clarinet solos, and GSCB musicians Lena Barsky and Laurel Stinson have boldly stepped up to the music stand!  

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First up, Lena Barsky, who will be performing the wild and wacky clarinet solo in John Mackey's Asphalt Cocktail. Lena is a relative newcomer to GSCB--she joined the group in September after moving to New York last May. Her first foray with the MMC was band camp at French Woods, which she says she attended "on a bit of a whim."

"I'm a huge band nerd, which means that seeing an email with the phrase, "Do you want to go to band camp?" filled my heart with joy," she said. "And I'm so glad that I did, because everyone was so welcoming and so talented! Joining GSCB has probably been The Highlight of my Very Special First Year in NYC." 

Lena has dived right in, tackling the lengthy and enormously technical clarinet solo in Asphalt Cocktail. She shared her thoughts on the part, her practice regimen and how she keeps those nerves at bay!

Click here for Part 2 of Solo Spotlight where Laurel Stinson talks about her part in Frank Ticheli's Blue Shades. 

What was your first impression when you saw the solo? 

"Ohhhhh geeze" and then, after a second, "OHHHHHH NOOOOO, I'M GOING TO HAVE TO PLAY THIS IN FRONT OF PEOPLE." I mean, this is far and away the hardest solo I've ever had to play, including the pieces I performed at my college senior recital! It's hyper-exposed, really fast, and filled with accidentals that aren't exactly easy to play in succession, so I was pretty intimidated. 

What part do you look forward to the most in the solo?

There's this really great part at measure 89, fairly early on into the solo, where Mackey takes the original theme of "da-da-DAT-da-da-DAT-DAT-DAT" (it'll make sense when you hear it, I promise!) and riffs on it, then the part gets really schmeary with several long glissandos, almost like that classic Benny Goodman sound or the opening clarinet lick from Rhapsody in Blue. Getting to play around with my sound in such an unregulated, over-the-top way -- the part literally reads "Dramatic Sighs" -- is REALLY FUN and is something that you don't really find in more traditional wind band music.

What’s the best part of playing such an exposed part in the ensemble?

*dramatic hair flip* Getting to SHOW OFF how GREAT I sound, OBVIOUSLY. No, no, no, I'm totally kidding. I'm not really sure! This Asphalt Cocktail solo is actually giving me a fair amount of stress because the rest of the band is working so hard and playing their hearts out on a song that's supremely difficult, and I don't want to let anybody down. Given that, I think what's great is similar to what I said above -- that I get to have fun with this part for a few lines and kind of jam out on my own. 

What’s your practice regimen?

Definitely rehearsing every day! Otherwise there's no way my fingers would have all the wacky accidentals down. When I first found out I'd be playing the solo I went home and listened to those specific measures of Asphalt Cocktail several times, to really cement the timing and pacing and to understand what the rest of the band is doing while I'm fighting to hold on to such a wild part. I like the old standby of "run a really tough part a bunch of times slowly, then gradually up the tempo." My college clarinet teacher was also really big on using different rhythms to cement the notes in long runs, which for this solo (and Asphalt Cocktail as a whole) is crucial. 

How do you deal with pre-solo nerves/jitters?

CROSS MY FINGERS AND HOPE EVERYTHING WORKS OUT! No, again, kidding... kind of. ;) I take a lot of deep breaths, drink a lot of water, review the hardest passages slowly, check the really high notes to make sure my reed is working, and then visualize myself KICKING BUTT. I've also been known to sing a lot of Queen to pump myself up. 

Any good luck charms?  

I wear the same set of necklaces and rings on a day-to-day basis, so I make sure that I'm wearing them for the solo, too. It's as if the magic of the solo has been embedded in the jewelry! And usually over the course of practicing for the solo I've figured out my ~*~Magic Lucky Solo Reed*~*, so I make sure that I use that reed during the concert.  

Click here for Part 2 of Solo Spotlight where Laurel Stinson talks about her part in Frank Ticheli's Blue Shades. 

MMC Artist Series: Jill Austen's Floral Symphony

We're fast approaching the third concert of the 2015-16 season, Modern Wind Symphony, a joint program with the Brooklyn Wind Symphony and Grand Street Community Band. GSCB's program will feature music inspired by "the third stream," a fusion of classical and jazz-influenced works including Blue Shades by Frank Ticheli and Asphalt Cocktail by John Mackey; and BKWS will be performing Andrew Boss's 2014 work, Tetelestai- A Symphony for Wind Ensemble, among other contemporary selections.  

Tasked with combining and interpreting such a varied concert program was artist and musician Jill Austen. Jill is a flutist with the Brooklyn Wind Symphony and has been playing with the Metropolitan Music Community since their very first rehearsal! As an accomplished music educator, musician and artist, Jill has worked and taught around the US, Mexico and the Caribbean and currently has some of her art work displayed at Columbia University.

Jill describes her paintings as "quirky and whimsical, and always colorful." Her painting, titled Metaphoric Wind Ensemble, is a combination of both ensembles' concert themes, and incorporates Jill's love of nature and floral motifs. Read on to hear about the challenges Jill experienced creating this piece and where she finds inspiration for her art, and see her process and more of her work in the slideshow below! 

Finding a common thread...

"At first it seemed an impossible commission. Both programs, although extremely creative, had little in common. On the GSCB side, wonderful representational possibilities lie in the classical/jazz fusion of their third stream music line-up. However, the BKWS program, which features the extended complexities of a new symphony (Tetelestai), was not so artistically straightforward. I did not want to focus on a single piece or musical style at the exclusion of others. Visual metaphor seemed the way to go."

Getting Started...

"First, I listened to recordings of the music and jotted down ideas in the form of pencil sketches. While I played around with several ideas, I kept coming back to the flowers in small bottles. [Then] I did a preliminary study in watercolor. Satisfied I had worked out the composition, I sketched the final version in charcoal over a peach-toned underpainting. I began by focusing on the individual blooms and adjusted for color hue and intensity as the work progressed. Next, I concentrated on achieving "believable" transparent bottles - always a fun challenge - and finally, I heightened the contrast of the bright light and purple shadows."

A Floral Symphony...

"Flowers in small bottles are arranged like the rows of a musical ensemble. Single blooms indicate the individuality of performers within the group, but work together in a larger, cohesive composition, like musical collaboration. Bell-shaped lilies in the last row stand in for brass instruments: the single white lily is a reference to the biblical theme of the [Tetelestai] symphony. Overall, bright colors evoke the many shades of jazz and the contemporary sonorities of both GSCB and BKWS programs."

Staying Inspired...

"I'm never at a loss for projects, especially if they involve collaboration and travel. I am fascinated by the interconnectedness of music, art and and poetry. On December 31, 2015, I completed a challenging year-long project, The 365 Series, for which I completed a painting a day. I find inspiration for painting in traditional subjects--landscape, seascape, still life, floral. Nature is fond of sculptural beauty and unexpected juxtapositions of form and color. I simply strive to interpret those which I find most lyrical."

See much more of Jill's work on her website, JillAusten.com  

Getting to Know....Matt Torrey!

Happy New Year everyone! We hope everyone is successfully keeping all of their unrealistic resolutions (I've managed to put fifty cents in my savings account so far!). One thing we should all resolve to do is get to know more of the amazing musicians in the MMC! Taking the plunge this month is Brooklyn Wind Symphony percussionist and everyone's favorite bar owner, Matt Torrey

Name: Matt Torrey

Occupation: Bar owner, bartender

What's your favorite thing about your day job? My job hours give me the flexibility to spend time with my kids during the day. And I like drinking.

Instrument: Percussion (actually, I'm a drummer but I play in the percussion section.)

How long have you been playing with the BKWS? My first cycle was Lord of the Rings, so 5 years I think.

How did you get started with the MMC? Some of the members came into my bar after practice one night about 5 or 6 years ago. It just so happened they were looking for a triangle player. I passed the audition, and the rest is history.

What's your favorite MMC memory? I would have to say Carnegie Hall--definitely the greatest venue I've ever played. I also remember being able to hear a lot better.

What's the first thing that comes up on your ipod when you press shuffle? Probably the band Spoon.

New Years Resolution? I think they're overrated so I never make one.

Favorite drink to make/favorite to drink? Beer and tequila.

What's your typical Sunday routine? Hang out with my kids (Dylan 6yrs, Sara 9yrs).

Give us a "local" New York/Brooklyn recommendation: Favorite breakfast - Jimmy's Diner on Union near McCarren Park.

Finish this sentence: "I knew I was a musician when...." I learned to play the recorder in elementary school music class.  It came naturally.

Posted on January 15, 2016 .