As a member of the Steve Reich and Musicians ensemble since 1979, I’ve participated in several premiere performances at the Brooklyn Academy of Music (BAM) through the years. Last week I had the honor of being part of a three-day series of concerts showcasing both Steve Reich’s and Philip Glass’s music at this prestigious concert hall. Each night’s concert was split between their two groups and the concerts were sold out almost immediately, which gave 6,000 people three spectacular performances of major contemporary works. This series was in part a celebration of the 50th Anniversary of Nonesuch Records which has featured these two composers in many of its productions. Bob Hurwitz, President of Nonesuch Records just joined Nonesuch Records in the early 80’s, as we were premiering Steve’s Desert Music at BAM with Michael Tilson Thomas and the Brooklyn Philharmonic. We recorded this work the day after the performance.
In the mid-1960s a few composers were experimenting with new forms of composition. Among them were Steve Reich and Philip Glass. Their influences were quite varied and included African and Indian music, jazz, classical music and the gamelan music of Bali as well as the music of Terry Riley, La Monte Young and Moondog. At the time this music was considered experimental and the venues often were lofts in Manhattan or private gatherings.
In the mid-1970s, Harvey Lichtenstein, executive director of BAM, programmed many of these artists, giving them a large-scale venue to present their works. This led to the Next Wave Festivals which began in the early 1980s.
While Philip Glass and Steve Reich are often lumped together under the category of “minimalism”, this series of three concerts clearly illustrated the huge differences of their output. I performed in compositions of Steve’s in each of the three concerts. The first night included Music for 18 Musicians which won the group a Grammy for its 1998 recording. The second night we played Steve’s 1971 composition, Drumming. The last night, I played in his 1985 work, Sextet for two piano players and four percussionists.
Other Reich works performed included Four Organs, Clapping Music, Video Phase and WTC 911. The Philip Glass Ensemble played many of Glass’ compositions, including several excerpts from his famous Einstein on the Beach opera. Between the two groups there were over 30 performers and everyone came out at the very end for a full company bow to a standing ovation.
Minimalism has achieved very high acceptance and groups throughout the world now play this style of music. There is even a joke about minimalism which proves its acceptance in society: Knock knock, who’s there? Knock knock, who’s there? Knock knock, who’s there? Knock knock, who’s there? Philip Glass.
Woodstock Chimes’ headquarters is located in the heart of the Mid-Hudson Valley of New York State. Our facility is in the watershed of New York City’s pure reservoir system and we are surrounded by the beautiful Catskill Mountains. The Hudson River. which inspired many artists and musicians throughout the years, is also nearby. The area is rich in the arts, offering many galleries and concert venues. Our region also offers a wonderful variety of locally produced foods and spirits. If you find yourself in the area, I would like to recommend a few of my culinary favorites.
- Bread Alone Bakery / Café (breadalone.com)
Located in Boiceville, Woodstock, Rhinebeck and soon in Kingston offers a huge variety of organic breads,
pastries and more. They also have cafés which offer great meals and espresso drinks. The Bread Alone Logo was designed by our famous local friend Milton Glaser (he also created the “I Love NY” graphic and campaign). Say hi to Dan or Sharon for me.
“Bread Alone Bakery began with a simple loaf; handcrafted organic with the finest grains. We have grown to include three cafés and have spread the simple goodness of bread from NYC to the Berkshires. Stop by our cafés, market booths or shop online for fresh gift baskets and more!” Dan Leader, Baker / Founder.
- Taco Juan’s Restaurant, Woodstock
If you like great burritos and cheese nachos, you must check out Taco Juan’s. Located in the heart of Woodstock, this small location offers many things to eat including super delicious locally produced Jane’s Ice Cream. Simple ambience but the rest of the village makes up for that. A few doors down, you’ll find one of the largest selections of Woodstock Chimes in the country at Topka. Say hi to Bob for me.
- Armadillo Restaurant, Kingston (armadillos.net)
This quaint hang has the best Margaritas in town. The cuisine is a nice blend of Southwest and Mexican and the fish is excellent. My favorite is the tuna. They have a lot of vegetarian choices too. The owner is a social activist working with the community to help others. They are dog friendly, so bring Fido and let him enjoy the outdoor patio with you. Say hi to Meryl for me.
- LaFlorentina Restaurant, Kingston (laflorentina.net).
They have been making spectacular northern Italian style gourmet pizzas in their wood-fired stone oven long before the craze and continue to be consistent in quality. They also make their own pastas and offer a selection of wine and beers. We love their lentil soup! I always order the Mauceri stuffed pizza (filled with spinach and ricotta, its center topped with red cabbage; served with porcini mushroom or sesame sauce.) Say hi to Ammar for me.
New American Cuisine
- Bear CaféRestaurant, Bearsville / Woodstock (bearcafe.com)
This is a world class restaurant located on the grounds of the former Bearsville Recording Studio. The studios were founded by Albert Grossman who managed the many local groups in the 1960’s such as Bob Dylan; Janis Joplin; Jimmie Hendrix; Peter, Paul and Mary, to name a few. They all recorded at the Bearsville Studios along with the Rolling Stones and the Beatles. The performers needed a place to eat, so the Bear Café was created. A great people watching spot. Say hi to Peter for me.
American Eclectic Cuisine
- Depuy Canal House, High Falls (depuycanalhouse.com) The New York Times gave Chef John Novi a four star rating in 1970 and the Canal House has been receiving high praise ever since. Housed in the historic 1797 Stone House Tavern, you can dine among John’s wealth of antiques and even sit at a long table in the kitchen to observe this artistic chef do his thing. The Sunday Brunch is so good, you might consider it a religious experience. Say hi to John for me.
There are so many great Asian restaurants, I’ll just name a few here:
– Yum-Yum Noodle Bar in Woodstock and Kingston (yumyumnoodlebar.com)
– Wok and Roll Japanese Sushi in Woodstock (live music six nights a week)
– Kyoto Sushi in Kingston (kyotokingston.com)
– Kodomo Sushi and Hibachi Grill with two locations Kingston (kodomony.com)
Tell them the windchime guy sent you.
Out the Way, Incredible in Many Ways (with music at nights often)
- Yoma Café in West Shokan on Rt 28A serves home-cooked meals to order. Breakfast through dinner. Say hi to Mary for me. BYOB
– The Country Inn in Krumville / Olivebridge (krumville.com). The food is excellent but you might want to go there for the hundreds of beers from around the world, including dozens on tap such as Chimay from Belgium. Say hi to Peter for me.
- The Rosendale Café in Rosendale, of course (rosendalecafe.com). If you are a vegetarian, you won’t have to ask if it has meat in anything because it won’t. Everything is quite delicious and they serve beer and wine. Say hi to Susan and Mark for me.
Local Produce and Gourmet Foods
- Sunflower Natural Foods, Woodstock and Rhinebeck (sunflowernatural.com)
All of their food additions since 2013 are certified organic and Non-GMO. Their new location across the river in Rhinebeck has a fantastic café. The owners are very community-minded and support local growers and artists. You’ll find a huge selection of Herbal Remedies and Vitamins there with a knowledgeable staff to assist you. Say hi to Bob for me.
- Adams Fairacre Farms has four locations in Kingston, Wappinger’s Falls, Poughkeepsie and Newburgh (adamsfarms.com)
Adams carries produce from many of the local farms as well as cheeses from around the world. They also feature Bread Alone Breads and Woodstock Chimes.
Blue Mountain Bistro To Go (bluemountainbistro.com)
– An amazing deli with a pastry and espresso counter. Say hi to Richard and Maryanne for me. Here’s what they have to say about their offerings:
• Local, artisanal, and hand-crafted foods such as homemade cheeses, soups, desserts, dressings, marinades, vinegars, spreads, preserves, honeys, syrups and other goods from our gourmet food store
• Fresh available organic produce from local Hudson Valley area farms
• Grass-fed beef and locally-raised chicken in prepared meals
• Healthy foods that are prepared on premise and free of artificial preservatives, colors, flavors, sweeteners and hydrogenated fats
• The Mediterranean way of eating with an emphasis on flavor derived from fresh herbs, garlic and olive oil
• Food that is prepared with love and care in the “slow food” tradition with the ease of a “to go” option!
• An ever-changing seasonal take-away menu as well as favorite gourmet menu staples at affordable prices
• Being a resource for good living and entertaining for our vibrant Hudson Valley and Catskills Mountain community
If you find yourself in Woodstock or Rhinebeck, have dinner at one of these places (there are many other great restaurants in both towns) and then check out Upstate Films. They show great films you won’t find at the Mall and their popcorn is actually good! Rosendale still has one of the few single screen theaters in the country as well. Enjoy and let me know what you think about these places!
Opera is considered one of the most refined musical art forms. It combines instrumental music, theater and singing to a very high level. Some of the most profound music is from the opera repertory. Many of the major composers throughout history have written operas beginning with early works of composers such as Monteverdi and continuing to the present day including Phillip Glass, John Adams and Steve Reich. My NEXUS colleague, Russell Hartenberger, was the Timpanist in the Toronto Opera Company for many years and my brother Rick Kvistad has been principal percussionist with the San Francisco Opera for over 40 years. Rick explains the experience of the percussionist in the opera as “stressful boredom”.
Having just finished my third season as timpanist with the Phoenicia International Festival of the Voice orchestra, I understand what Rick is saying. The percussion section and to a certain degree the timpanist mostly wait for their parts to come up. For orchestral literature, percussionists count measures rest, sometimes in the hundreds. For the opera, however, percussionists often mark the time between entrances in hours and minutes. Some percussionists have even been known to leave the pit between entrances and run errands (no names mentioned).
The Phoenicia International Festival the Voice just concluded its fifth season. This amazing five day summer festival was the brainchild of Metropolitan Opera superstars and a world-class pianist (www.phoeniciavoicefest.org). Louie Otey, Maria Todaro and Justin Kolb have created something incredibly special right here in the heart of the Catskills. The orchestra, led by Maestro David Wroe, included fantastic musicians from the New York metropolitan area, including members of the New Jersey Festival Orchestra, which Wroe conducts. Rick, Russell, Chris Earley and I have played percussion and timpani for the last several years. This year, the festival presented the Barber of Seville. In the past, the festival has presented Madame Butterfly and Rigoletto. Puccini wrote for a chromatic octave of tuned gongs in Madame Butterfly. Luckily I had a set which is a rare situation even in many of the established opera companies.
In addition to the opera production, a tremendous number of performances and workshops are given during the five day festival. This summer included a high energy flamenco concert based on Manual De Falla’s El amor Brujo.
The Friday night concert featured the orchestra in popular Spanish and Italian songs starring Maria Todaro’s father Jose Todaro. Jose is a superstar in France and he won over the audience immediately as he continued to enthrall everyone for two hours.
One of the more difficult challenges for a percussionist is to know when to play. Often, the indication in the music is to tacit (not play) until a later time without showing the measures or any music notation. That interval could be minutes or hours. Also, long segments of recitative, spoken parts go by quickly while the conductor marks this time occasionally. Knowing when these segments are over can be a challenge. In other words, stressful boredom!
It’s nice to know that summer opera is alive and well, at least in the Catskills. While funding is being cut in school music programs, arts council funding is diminishing and ticket prices are often astronomical, there are boutique style venues popping up all over the country. Just across the river, Bard College offers a summer program entitled Summerscape which often includes large scale opera productions. Right down the road from Phoenicia, the Belleayre Ski Center has a summer music festival which also offers an operatic production each summer. There’s plenty of stressful boredom to go around.
Early on in the beginning years of Woodstock Chimes, I attended a talk given by a marketing executive of the Stanley Tool Company. I walked away with a very important message. He explained the difference between marketing and sales using a simple drill bit. Basically, he said that they sell drill bits but they market the hole made by the drill bit. It was one of those “aha” moments for me. From then on I realized I was selling windchimes but marketing the sound created by those chimes. For me the most important aspect of our product is the way they sound. The second most important feature is the way they look. However, whether you are looking at them or not, you would hear them playing every time a breeze activated them. So, from the very beginning, many marketing considerations focused on the sound of our products.
As a musician, I make sure that the chimes are not only musically and historically accurate but produce the best and most exciting sounds possible. Simply put, to achieve this, the scale or melodies of the chimes and the accurate tuning must be carefully executed. I also realized early on that my contribution here is to ensure that this level of quality is always primary in the development and production of all of our products. I also want to convey this quality through our marketing efforts. This includes the information found on our website, the hangtags of each product, our printed literature and the information available to all of our sales force and retail partners.
Another realization early on was that the best sales people had clearly defined skills which I felt I lacked. So while I continued my marketing effort, I let those best suited to sell my musical designs do so. The first great sales person was my wife, Diane. From the very beginning, as we traveled we would search out stores we felt were a good match for our chimes. While I sat in the car, Diane would go inside and brag about what I had created. Musicians don’t take well to the audience booing and I never accepted rejection well from a buyer. A good salesperson, does not take it personally and moves on. Sometimes, however, it takes many attempts to be successful. I guess I am not very patient when it comes to this. Luckily Diane is, and so is Betsy Harrington, our incredible sales manager.
In the first year of business, we visited a local shop specializing in handmade crafts. Diane talked to the owner in the store (yes, I was outside in the car) and showed her our Chimes of Olympos, the only product that we were making at that time. The owner immediately said this was not something they could sell and turned us down. Diane then left the store followed by one of their customers. Out on the street the customer said just how much she loved the sound of the product and wanted to know where she could buy one. Luckily, Diane just happened to have one to sell her. While the rejection from the store owner was tough, the reaction from the customer was encouraging. Diane did not give up, approaching the store every year until the buyer finally decided to give it a try three years later. We have been selling to this account for over 30 years and it continues to be one of our best accounts.
This situation happened over and over. Whenever I am on a musical tour, I try to visit the stores in the area that carry our products. It does take an effort for me to introduce myself unannounced. Diane always encourages me to do this and so, one time I was in Minneapolis and visited an account there. It was a large store with many Woodstock Chimes hanging all over. I approached the young clerk at the counter and introduced myself saying, “Hi, I’m Garry Kvistad and I own Woodstock Chimes.” She looked at me and simply replied, “a lot of people own Woodstock Chimes,” and turned away. This is one of the reasons I don’t feel well-suited as a sales person. I think I’ll stick to design and marketing!
Percussionists are often called upon to play instruments that are sometimes not even classified as percussion instruments. A huge category within this subset are sound effects. Sound effects used in movies began with Jack Foley in 1927. Foley Art is used throughout the film industry today and many of Jack’s techniques are still a mainstay in this world. Another leading figure in the world of sound effects was the late, great Tom Keith of A Prairie Home Companion fame. He used vocal sounds as well as props. Michael Winslow can be heard in the Police Academy movies doing amazing things with only his voice. There’s a wonderful scene in Monty Python and the Holy Grail where two of the members pretend they are riding on horseback while one of them makes the sound of horses hooves with coconut shells. “Are you suggesting coconuts migrate?” Percussionists in the orchestra often play instruments that imitate whips, anvils, bird calls, Cathedral bells and animal sounds that are scored by composers such as Aaron Copland, Ferde Grofe, George Gershwin, Richard Wagner, Leroy Anderson and Franz Josef Haydn to name a few . Yet another great reason to be a percussionist!
Percussionists are often called upon to play unusual instruments. One such instrument is the quijada or the jawbone of an ass (donkey). This instrument is mostly found in South America, Central America and the Caribbean. I own two of them, one of which I bought in the mid-1970s while on tour in Austria of all places. This is probably not an instrument endorsed by PETA since it is literally the jawbone of a large animal left to dry, cleansed of all but bone and teeth. The teeth are removed and reinserted into the socket, held in by wires, thus allowing the teeth to rattle. The method of playing is much like that of a tuning fork as it’s held by the closed end and struck on one side of the open end, generally with one’s fist. This creates a vibration that moves the teeth rapidly, creating a dry rattling sound.
It is used traditionally in various forms of Latin popular music. However, modern composers such as John Cage have included this instrument in some of their works. The most notable work of John Cage that uses a quijadais his Third Construction written in 1941. It is scored for four percussionists, one of which plays the quijada, a conch shell trumpet and several other unusual instruments. Cage referred to this piece as his Bolero since it is very lively and an audience favorite. In the 50s or 60s, a percussion manufacturer, Latin Percussion, designed a vegan version of this instrument made of wood and metal and is often used in modern orchestras and small ensembles.
There are a lot of drummer jokes out there. My offering is, “Who plays the jawbone of an ass?” The answer, “Another one that still has his jawbone.”
NEXUS has been producing creative and unique concerts since its first one in 1971. This past weekend was no exception as we collaborated with an amazing young Iranian / Canadian vocalist and setar (www.setar.info) player, Sepideh Raissadat who is quite well-known in her native country. Our performance was at a great little theater in Kitchener, Ontario, Canada as part of a very cool music festival called Open Ears. Band member Russell Hartenberger has been working diligently to transcribe and arrange the many classic Persian songs that we performed with Sepideh.
Due to the differences in tuning, there was a concern about using western instruments in conjunction with her setar, a traditional Iranian string instrument (not to be confused with the Indian sitar). Since we were not able to adapt to her intonation (we were primarily playing fixed pitched marimbas), she adapted to ours. However, her phrasing, pitch bending and beautiful vocal timbres made it work incredibly well. The festival producers were very pleased that we played to a sold out crowd. It did help to have a large Iranian population in this small town and they showed up in big numbers!
NEXUS and Sepideh Dress Rehearsal Open Ears
Short Video Excerpt from “A Moment of Ease” Persian Song at the Dress Rehearsal for Open Ears
In addition to the Persian songs, Russell transcribed six songs written by Moondog (Louis Hardin), a popular street musician and philosopher from the 40s to the 70s in New York City. He was a blind, eccentric composer who was known as the “Viking of Sixth Avenue”.
The then conductor of the New York Philharmonic, Arthur Rodzinski, invited him to attend rehearsals of the Philharmonic which I am sure influenced his musical output. Moondog was also friends with Philip Glass and Steve Reich. Some credit him for having had a little influence on the minimalist music movement. These pieces were fantastic and Russell’s arrangements were quite beautiful and effective.
The other work on the concert was an older work of Russell’s called The Invisible Proverb. A previous version of this piece is on our Drumtalker CD (nexuspercussion.com/2004/11/drumtalker-dvd/). Hopefully we will be able to record the Moondog Suite, the Persian Songs and possibly rerecord The Invisible Proverb. We are scheduled to do this concert again at the University of Toronto on October 27th of this year.
The next night, we performed Steve Reich’s Drumming. We collaborated on this concert with the Canadian percussion group TorQ (Richard Burrows, Adam Campbell, Jamie Drake, Dan Morphy, with guest Brennan Connelly). Gillian Stone, Amy Gottung and Laura Chambers also joined in on vocals and piccolo. Everyone played phenomenally in what is a fairly rare performance of the complete work of Drumming (part one alone of Drumming is performed more often).
Backstage just before the concert, Sepideh gave us a short lesson on Iranian finger clicking. We were totally blown away by the sheer volume she was able to produce by simply pushing one finger against another. These are the kind of things that keeps touring interesting. The jokes are usually pretty good too.