I remember when Wavves’s King of the Beach came out in the summer of 2010. Wavves was the perfect band for me at the time: they had all the melody and fun of bratty pop-punk, but balanced snotty singalongs with trippier, psychedelic haze. They were somewhere between the critically-lauded experimental indie rock that I wanted to love, and the three-chord power-pop bands that I really did love. I thought they were the peak of careless cool. Based on their performance at Bailey Hall on April 8, they’ve lost this quality.
After dining on the well-balanced meal served by András Schiff at Carnegie Hall (see my review in last week’s Sun), sitting at the table of Emanuel Ax’s solo performance at Bailey Hall last Friday was like losing a Michelin star. The flavor was all there, but it lacked a certain aftertaste. In light of this, dear reader, take the following impressions with a proverbial grain of salt.
Hearing Ax play in an enthusiastically attended venue was theoretically exciting, but in practice was a mixed bag of tricks. I say “tricks” because so much of what went down on stage was impressive in craft yet otherwise inconsistent in art. The concert’s all-Beethoven first half went from day to night in this regard, shining with exuberance in the Piano Sonata No.
Barton Hall will transform into a dance floor on Nov. 7 to host the Ivy League’s first dance marathon, Big Red Thon. About 500 Cornellians have signed up to dance continuously for 13 hours — from Saturday through Sunday — raising nearly $15,000 out of their $50,000 goal as of Monday evening for Upstate Golisano Children’s Hospital. Chelsea Assang ’16, dance and morale captain of Big Red Thon, said the dance marathon will be divided into different dance themes. “[There will be a] hip hop hour, a rave hour [and] a Zumba hour to keep it very versatile so it appeals to a wider population,” Assang said.
In 2013, a year after being named a National Endowment for the Arts Jazz Master, drummer Jack DeJohnette was asked to perform at the Chicago Jazz Festival. Given a free choice of bandmates, he convened reedmen Henry Threadgill and Roscoe Mitchell, pianist Muhal Richard Abrams and bassist Larry Gray on far more than a whim. Their connection runs back to the early 1960s, when DeJohnette was making a name in his hometown of Chicago. Abrams and company would go on to found the Association for the Advancement of Creative Musicians, or AACM, from whose ranks would arise the legendary Art Ensemble of Chicago. By that time, DeJohnette’s career was already taking off in New York City.