aah! All caught up and I had a great time to get some practicing in for a while. I was working on a new composition using the stressed accents of a children's rhyme:
peter piper picked a peck of purple peppers,
a peck of purple peppers peter piper picked
if peter piper picked a peck of purple peppers,
how many peppers did peter piper pick?
I hear it as:
I’ve also been thinking a lot about something Billy Drewes said about "playing different attitudes"
When we heard Cecille McLorin Salvant I was irresistibly reminded of this recording in particular:
I think Sarah Vaughn perfectly embodies this idea of "playing different attitudes" and I think that is a huge part of what makes her so captivating for me. I hear this trait especially around 2:10 when she takes the bridge out. I feel like I hear her switch between faux operatic, childish whining, and earthy swinging all within one phrase. She also takes advantage of different registers to adopt different personas. Billy Drewes does this a lot too. Check him out on this video (playing clarinet!):
After a great time in Denver now I'm off to Palo Alto for three fun weeks at SJW! I'll keep you posted... I promise
PS no pretty pictures from CO this time, but I did capture a really great Vermeer from the Haigue. Worth a look I think