We finished our first official pops program this weekend (as opposed to some of our similar-to-pops specials that you’ll see throughout the season), which ushered in a new era for us, with Jeff Tyzik as our new Principal pops conductor.

As we were leaving the hall after this afternoon’s matinee, we heard lots of buzz out on the sidewalk, with many people expressing their happiness with the day’s program, and with the excellent performances of trombonist Robert Taylor, Sinatra-style vocalist Steve Lippia, and the entire orchestra.

While this program of Tommy Dorsey and Frank Sinatra standards was hardly adventurous, Tyzik did succeed in building a program which linked the two artists who are not often thought of in the same breath (though Sinatra did work with Dorsey and his orchestra early in his career) by interspersing each artist’s work throughout the program.

If the rest of the pops programs have audiences leaving as happily as this one did, the OSO pops has a bright future.

Also - Principal oboist Marty Hebert was a finalist in the Jeopardy! contestant search here in Portland over the weekend.  He may be called to be on the game show sometime in the next 18 months!

And don’t forget to vote in this week’s poll, it closes on October 17th at midnight.

Johnny Mathis

Tonight we did a one-off show with Johnny Mathis, and it was a pretty great show.  The guy’s 72 years old, and he can still sing all of his signature songs with ease and grace.  Sure, everything isn’t absolutely perfect, but he’s one of those old-school, consummate showmen who just deliver, day in and day out.

The arrangements were nice, some even lush, but few were interesting from an inside-the-orchestra viewpoint, except for a great Mancini arrangement of Brazil that had our fingertips tingling at the end (lots of fast notes after  20 minutes of long tones in the charts before).

Not much to say about this one except - go, go tonight and come back on Monday night. I think it’s a must-see show, and a highlight of the pops season. I’ve heard rumors (quite possibly untrue) that this is the last tour of the Flecktones, so it’s literally a once in a lifetime opportunity to see them live in Portland for one last time. Rarely do I have the pleasure of just sitting and drinking in such incredible musicianship with an awestruck grin on my face. I know, you’re saying to yourself, “it’s just a banjo” - trust me, it’s much, much more - get your tickets now!

My, oh, my! Eartha Kitt swept into Arlene Schnitzer Concert Hall like a proverbial force of nature last night - I don’t think that the place will be the same ever again! [Read more →]

Just got this email forwarded from the OSO marketing team:

$10 Friends and Family offer
High-Wire High Jinks with the Oregon Symphony
Saturday, Nov 24 at 7:30 p.m.; Sunday, Nov 25 at 3 p.m.; Monday, Nov 26 at 7:30 p.m.
Jeff Tyzik, conductor
MarchFourth Marching Band

Safety Last, the classic silent movie with Harold Lloyd

Great family fun for the Thanksgiving weekend! The concert opens with high-energy big band spectacle. After intermission the Symphony provides live accompaniment to a perilous, pulse-racing silent film classic.

Visit http://www.ticketmaster.com/promo/8o1dhi and enter the password
TURKEY to receive your $10 tickets today.

Wow. I am stunned - and I’m ashamed that I’m stunned. I went to the Norman Leyden 90th birthday concert at the Arlene Schnitzer Concert Hall this evening (which was presented by the Oregon Symphony). I don’t know what I was expecting, but I got a master class in what it is to be a consummate professional who still shows joy in music making after a sesquicentennial in the business.

The high points? Hearing maestro Leyden sing for the first time in my 12 years with the orchestra - and he can! He’s no Sinatra, but he hit the notes, the phrasing, and did so with elán. His clarinet playing is a bit grainier in texture than a few years ago, but he still effortlessly turns a phrase like those giants he played and arranged for in the 40’s and 50’s.

The big band he assembled was also in great form, very tight and some great solo turns, especially from trumpeter Mark Gaulke and saxophonist Dick Saunders.

Vocalist Reneé Cleland was superb, having shown much growth from her days as a member of the Leyden Singers, and a sparkling presence on stage. Rod Lucich was steady and reliable, but his voice didn’t sparkle, and he was slightly under pitch for many of the songs.

Norman always found time to promote local young artists who were worthy of notice and who shared his love for the music of the big band era. Reed player Hailey Niswanger is a sax and clarinet player to watch - she has got the goods: great sound, pure intonation, and a sure hand around a turn of phrase. And she’s only a senior at West Linn High School. Back for her second performance with Leyden was Aubrey Cleland, daughter of Reneé, who made her pops debut at the age of 10. Now 14 she’s on her way to being a seasoned performer. She has a young voice, but time will take care of that, and she has the presence and quality (and beauty) of her mother, so look out world!

Dance West of Beaverton provided several large-scale dance set pieces - the up tempo numbers were the most effective, but the choreography proved a bit repetetive and didn’t always match up to the mood of the music.

In retrospect, I feel I owe Norman an apology. I didn’t take him seriously enough - I respected him and liked him very much as a person, but I didn’t or couldn’t see what was before me: a master and legend.

I stand corrected.