Eclectic indie-folk at El Viejo Topo

Performance Music by Ethan Azarian and Melissa Knight Sat, Aug 18, 9pm El Viejo Topo Café Teatro Stirling Dickenson 28 154-8701

“Ethan Azarian must be an ancestor of Hans Christian Andersen, or perhaps a seventh cousin, twice removed, of Jacob and Wilheim Grimm. Azarian writes songs of the fantastic and surreal, twisted up with just the right amount of dysfunction,” (Darcie Stevens of The Austin Chronicle).

Originally from Vermont, where his father, folk legend Tom Banjo, still resides, Ethan has lived in Austin, Texas, for fifteen years, founding and releasing four albums with the critically acclaimed band Orange Mothers. Described as “prophetic,” truly original and non-commercial, Ethan's style is an eclectic mix of folk, pop and rock. Ethan makes his living as an artist working out of his studio, the In-House Gallery, and has been named best local artist by the Austin Chronicle. In 2005, Ethan combined his music and art, playing musical venues and showing his paintings around the country on his Greyhound Bus Tour.

The Orange Mothers are not Ethan Azarian's primary source of income. He paints and his art is as vivid and whimsical as his lyrics. Frequently awash in rich primary colors, Azarian's canvases are at once elementary and surreal. As his songs frequently return time and again to a handful of themes—(M) space, birds, carnivals—(M)so do his paintings. Cows, airplanes, ladders, houses, teacups, chairs and cityscapes are among his recurring subjects. His artwork adorns both Mothers CDs, as well as the Meat Purveyors' More Songs About Buildings and Cows. Recently, he's added sharks and bananas to his repertoire.

“I think that at some level, subconscious probably, I realize that if I'm writing and painting, it's stronger if I consolidate what I'm doing,” says Azarian thoughtfully. “Working with the same themes, coming from one place, it's stronger to the listener or viewer. After so many years, you just start to perfect painting chairs or cows or writing the same kind of songs. You just get better at it.”

Azarian also realizes the most successful artists are those whose work connects with the public, as opposed to those inscrutable painters and musicians whose work seemingly exists solely to give them something to do. Yet his work is highly, intensely personal.

More than simply letting his father, whose Sixties square-dance band was Ethan's first gig, sing “Little Birdie” on Big Blue House or recording a pair of songs on the CD with his brother Jesse, Azarian's songs (“Birthday,” “Sunshine,” “Fairgoers”) stem directly from one childhood memory or another. In that way, his early years have never left him, enabling him to carry that sense of wonder that makes Orange Mothers songs so indelible and unique.

“I think I'm sort of stuck in seven and eight years old, because I really had a great childhood,” offers Azarian, now well into his 30s. “I would say on some levels, I've had a better childhood than adulthood. I just loved being a kid. I was very lucky. I had good parents; I had 80 acres to run around on, no TV. We made up all these games.

“Our friends would come down and stay over and we'd just play games in the woods for days,” he continues. “Literally days. That was a real big influence on me, and still is. I had such a great childhood, that artistically, I draw from it continually. Now that I'm older and have gone through breakups and have to pay the electric bill and be on my own, that comes into play too, but it's still coming from a little kid's point of view.”

Formerly with the Hollywood Indians beginning in the late eighties and later with Orange Mothers, Azarian was, by many accounts, a “respected pillar of the [Austin] music scene” for nearly two decades. Only recently did he opt to pursue his solo career. Among the general public, however, Azarian is more well-known for his prolific art career; in 2002, he was voted Best Painter in the Austin Chronicle's annual reader surveys. With the backing of his talented bandmates, Azarian's latest endeavor is a mellow collection of Americana folk. It's hardly rock, nor is it sexy; it's taking that final, lonely smoke on your balcony after a rowdy night, when you realize that perhaps what you should've done instead was stay home.

In 2004 Ethan released his debut solo album, Captain of the Town, which included reworked versions of several Orange Mothers songs. In contrast, Cross’n Over (his second solo album) consists entirely of new material that touches the heart and mind in places rarely approached by his previous work.

On first listen, Cross'n Over strikes one as a serene, innocent folk record. And yet, delve beneath the pastoral surface and one quickly discovers a deeply contemplative album, imbued with the soul of a grown-up Christopher Robin, having long left the woods in pursuit of a life spent deeply inhaling the intoxicating aromas of earthly delights and now, in august repose, finding himself wanting a little bit of peace and quiet. “Sailin' on the sea / happiness and sorrow all around me / if you see me comin' round, you can take my hand / I am the sailor / gonna help you through this world” he says on “Sailor.” Judging from the sincerity in his voice, we're inclined to trust him.

The title track is about death. But far from dwelling on the macabre, this gentle folk song focuses on redemption and renewal: “no more gamblin' and drinkin' / no more taking this good life for granted / and I'm seein' my lovely / on the other side”, exalts Ethan. This sets the tone for the rest of the record, which is distinguished by distinctly introspective meditations on love, friendship and—(M)despite its title—(M)life.

“Ethan Azarian as a solo artist is tough to pin down. There’s pop, folk, a dash of psychedelia and some old-fashioned angst, all delivered in an off-beat yet charming manner. As songwriters go, Azarian is closer to Jonathan Richman than Slaid Cleaves, and will have you grinning and laughing even if his heart is bleeding,” (Jim Caligiuri, The Austin Chronicle).

See more about Ethan at:

http://austinist.com/2005/10/04/austinist_artist
_profile_ethan_azarians_crossn_over.php

http://www.ieatrecords.com/artists.html 

The big surprise is that Ethan and his guitar will come to San Miguel with Melissa Knight, his longtime partner in the cello. We will enjoy an intimate and joyful demonstration of his musical talent and the deepness of his lyrics along with the magnificent arrangements for cello with which Melissa compliments Ethan’s compositions.

Includes excerpts from articles by Allen Y Chen and Christopher Gray

Guitar through the ages by young Querétaro musicians

Concert The sound of the time, from Bach to Brouwer Wed, Aug 15, 7pm Teatro Santa Ana Biblioteca Pública Insurgentes 25 70 pesos

One of the most romantic and celebrated instruments is the guitar. The sound of the time, from Bach to Brouwer is the title of a series of guitar recitals that will be performed in different places throughout the states of Queretaro, Guanajuato and Michoacan. These performances take you on a journey through the history of this delightful instrument and across the different phases and musical styles, such as baroque and contemporary, focusing on the most renowned composers.

The program includes a series of compositions from Bach, Brouwer, Giuliani, Antonio Lauro, Ponce and others. They will be interpreted by the young Mexican guitarists Pablo Aguilar, Pedro Galván, Luis Montellano, Carlos Ávila and Daniel de la Vega. In spite of their age, these artists demonstrate high levels of interpretation and technique, and of course, share a huge love and respect for music.

If you want to spend a beautiful evening accompanied by the melody of the guitar, don’t miss this magical concert in our own San Miguel de Allende. It is our pleasure to share this marvellous experience with you.

Reflections on gypsy music and song


Concert
Gypsy Night Concert
With Javier “El Javi” Estrada
Mon, Aug 13, 7pm
Teatro Santa Ana
Biblioteca Pública
Insurgentes 25
100 pesos

We now know that the gypsies originated in the Punjab in northwestern India, fleeing from the region during the clashes between invading Arab and Mongolian warriors, a thousand years ago. On their long odyssey, they traveled through, and settled in, the countries of the Middle East, including Persia and Egypt. Indeed, they became so closely associated with Egypt that they eventually came to believe that they were descendants of the Pharaohs, a legend to which many of their songs still refer. As a result of this they were called Egyptians, or “Gypcians” in English; while, in old Spanish, gitano was simply a way of saying “Egyptian”. In fact, having no written history, they had forgotten where they really came from.

They reached Spain in the early 15th century and quickly spread all over the country. Although they were not expelled along with the Moors and Jews during the 16th century, partly because they represented no threat to the political and religious supremacy of reunified, Christian Spain, and partly because it was simply too difficult to physically get hold of them all, they were eventually forced to give up their Romani language (now identified by linguists as a simplified version of Sanskrit), as well as their nomadic ways.

Celebrate this particular music with its vast array of influences, stretching across cultures and times, with gypsy night music at Teatro Santa Ana.

Last Chamber Music performances

The Chamber Music Festival is drawing to a close with only two performances left, on Friday, August 3, at 7pm, by the Bretano String Quartet and the final concert the following Saturday at 7pm in which the above Quartet will be joined by La Catrina String Quartet. Both are at Teatro Angela Perlata.

In its 29th year, the Festival has grown dramatically since 1979, featuring 15 concerts by a number of different groups and artists from around the world this year.

The Festival has received glowing reviews (except, perhaps, a few younger children who aren’t quite old enough to appreciate it). “Young and vibrant and good”, reported one viewer, describing the first performances of the Turtle Island Quartet. A young, aspiring violinist was rendered speechless and could not find words to describe the experience. “We didn’t expect anything like this in San Miguel,” said Frank Callahan, who took in several concerts with his wife, Barbara. They felt, however, that more should be done to promote this festival and others like it outside of San Miguel.

San Miguel bops to Bach
By B. K. Lake

The chamber music festival ending this week end made it loud and clear: San Miguel is one of the classical music centers of Mexico. The three non-profit groups devoted to chamber and classical music present more than 50 concerts a year by international artists from Mexico, the US, Europe and elsewhere.

This outpouring is taking place in a city the Mexican census pegs at 65,000 but as the festival organizers know draws most of its support from a foreign population that is estimated at 8,000 to 11,000.

There are three non-profit organizations that make these concerts available in almost every month. The oldest is the Festival Música de Cámara, started in 1978, and presents two weeks of concerts in late July and early August. The Winter San Miguel Chamber Music Festival has two weeks of classical music in December. Pro Musica has staged an average of 20 concerts a year.

In addition to the great music they present, they also have something else in common. It’s an old refrain, but they need you to help keeping the concert halls here alive with the sound of Dvorak, Mozart and young composers. Check out their websites and get involved. For Festival Música de Cámara visit http://www.chambermusicfestival.com/  and for Pro Musica www.promusicasma.com.