Articles
Artwork
Biography
Performance
Philosophy
Poems
Discography
Reviews
TransMuseq
Catalog
the improvisor
LaDonna Home
| |
LaDonna
Smith |
|
reviews reviews |
|
|
|
reviews
reviews reviews reviews |
A Festival of New Music Improvisation
New Music Circle, Graham Chapel, April 14
LaDONNA Smith of Birmingham, Ala., was the
first muse among equals at the New Music Circle's Improv Fest '96 at Washington
University's Graham Chapel on Sunday evening. Smith was one of three visiting improv
artists, who joined an eclectic mix of five local players for several forays into the
realms of barely tamed chaos. Using a wide variety of vocal expressions and an even wider
array of experimental violin techniques, Smith was the unofficial leader of the various
ensembles that joined together and drifted apart during two hours of music making. Stage
charisma, and an imaginative ear for the possibilities of timber, make Smith an appealing
presence. In a solo set, she combined sawing on the violin's open strings with a set of
frenzied wails on the remaining string, over which she sang an eerie cantalina. The effect
was an impressive complexity of texture, like some deranged nun
chanting next to a devilish fiddler."
Philip Kennicott, Classical Music Critic
St. Louis POST DISPATCH
Critic's Choice, Music
LADONNA SMITH
This adventurous violinist and vocalist resides in
Birmingham, Ala., where she rarely leaves, letting such CD's as the recent Eye of the
Storm (TransMuseq) do her traveling for her. But when she takes her fiddle and voice into
the world, creating orchestral textures where jazz improv, bluegrass, contemporary
classical, Celtic, and countless other influences commingle, the world is never the
same again.
-Derk Richardson,
SAN FRANSICO BAY GUARDIAN
LaDonna Smith
'EYE OF THE STORM'
The difference between improvisation I want
to listen to and that which I don't, probably comes down to something like personality.
Every note of LaDonna Smith's music has something of this quality, as well as a
physical directness and a happy foolishness which says, "yes, I know this is silly, but
"
Her solo voice, viola and violin CD scrapes and
howls, whistles and whinnys, often making strange allusions to a variety of genres but
mainly alluding to nothing much at all. There is a convincing seriousness of purpose
behind her highly accomplished stream-of-consciousness playing, most fully revealed in the
searching title track.
Richard Scott, WIRE
"EYE OF THE STORM"
LaDonna Smith,
LaDonna Smith's new CD puts her clearly in
the realm of undisputed masters, regardless of genre, along with John Coltrane, Ali Akbar
Khan, Oum Khalsoum
the point of this pantheonic comparison is to acknowledge that
free improvisation has such a dedicated representative. TransMuseq (LaDonna Smith and
Davey Williams) has been the only American improvising group which has been devoted solely
to improvisation at a consistently high level for a period of time roughly equivalent to
the time Brits like Derek Bailey (and company) have been at it. A lot of current players
may not be aware of this "tradition," or may be choosing to ignore it.
LaDonna makes the violin sound like a million
cranes flapping their wings through an amplifier. Her style includes sounds that transcend
the personal, combined with a kind of technique which is obviously practiced, though never
arrogant or overstated. Sometimes the music sounds like a motorcycle driven through the
string section of an orchestra; at other times she forays into the upper stratosphere of
coloratura soprano extracted from her instrument. Her vocals ring out like a fifth string
added to the violin. The entire effect is a chorus/string section of worldly/other-worldly
creations. She incorporates everything from the most refined, energetic glisses to
polyphonics, harmonics and the scritchiest scatchiest horrors of scrape on wooden bones.
The only difficulty I have is that listening to too many pieces at one time is like eating
too much chocolate. I love chocolate, but too much makes me feel insane.
Two of my favorite cuts are "Conversation
With Orchids" and "Oceanic Sleep." The first is exactly what the title
sounds like. It's the kind of conversation orchids would have as they are rocked by spring
breezes. Their small petals and glowing colors uttering excited variations on a million
high tones and contrasting with soft leaf-like, sonorous full bodied long tones. In
"Oceanic Sleep" LaDonna plays on viola all the parts simultaneously of a
future/primitive early music consort in a beautiful, slightly meleancholy improvisation.
It sounds like a vast ocean, engulfing everything in harmonly waves.
LaDonna's first solo recording also reflects this
ocianic breadth of experience. Her company/ concept, Transmuseq, has an approach to
improvised music inspired by the idea of "automatic" writing as practised by the
Surrealists, notably André Breton. Simply, "automatic" means tapping directly
into dream states, the unconscious, humor; not allowing conscious decision-making to
interfere with the creative process. For the improvisor, this entails a continuous
self-overcoming and subversion of one's own tendencies, licks, chops, tastes and
limitations. LaDonna succeeds in playing free music which maintains a productive tension
between doing what she "knows" how to do, and letting her inner demons have full
range.
If you call yourself an improvisor check out
TransMuseq and get this CD!
As saxophonist Wally Shoup said, "A lot of
people have played improvised music, but the question is, how many of them will be doing
it ten or twenty years later?"
Hillary Fielding & Ross Rabin, FREEWAY
LaDonna Smith
EYE OF THE STORM TRANS 11
Atmospheric Debris or
"Saturated Sound-check"/ Constellations, 98 Degrees Fahrenheit/ Conversation of
Orchids / Fire in the Old Growth / Traveling Nimbo-cumulous / Viola Coaster Rainbows /
Flash Flood In Downtown Decatur / Tone Rays / Oceanic Sleep / Free Radical / Our Changing
Weather' / Eye of the Storm. 11/91, 12/91, 4/12/92, 6/7/92
The title of this CD and the riveting music therein suggests that
Smith, after a period of readjustment and re-evaluation, is in the thick of recapturing
the imaginative take-no-prisoners flair that, on the basis of public documentation, marked
her pre-'89 efforts. Most of her work here revolves around a specific vocabulary and a
limited number of strategies - grinding glissandi, which often involve note clusters
and/or tone-overtone combinations, sawing sounds, crying plaintive notes and lines
embellished with 1/4 and 1/2 tone inflections, and regular use of two-note riffs from
which she extrapolates freely. (There's nary a "normally-toned" passage to be
found though she comes close a couple of times.) In tandem with the deep sense of
emotional commitment and nuance which permeates these pieces, it is clear that Smith is
not only searching, but finding as well. Her vocal obbligato, for instance, which was in
the past distracting if not downright irritating, is here less demonstrative and much more
integrated into her muse as an effective accessory; sometimes only a slight shadow or
coloration. And though vocals are credited only on specific tracks, they actually appear
nearly throughout the disk, and in a particularly striking context on the audio verite
opener where Smith and Preston Beck converse on technical matters behind the violist's
far-reaching-warm-up.
As for "Our Changing Weather" with long-time partner
Williams, their interaction, coming on the heels of an extended viola interlude, yields
much less discursive results than that of Travellers (6/91, p.67), but is less
surprising than their work of years past, as the guitarist once again all but abandons
flights of fancy for grounded metric rhythms and easily definable harmonic progressions.
But that desn't stop Smith from taking flight, and thus demonstrating clearly that repose
in the eye of the storm can inspire and catalyze the creative spirit.
Milo Fine, CADENCE
LaDonna Smith, EYE OF THE STORM
Intense and involved, our friend
LaDonna sets forth on a (mostly) solo excursion into
today. Her viola, voice, and violin will transport you through what (despite NASA hype) is truly
the last frontier. Her intricate interpretations take you right to the dead CENTER of the climate she creates for you! For some, who want the
throb of 2 or 23 chord pattern in their listening
experience, this will be a gullywasher! Those of us
who have learned to listen to (and
for) the under-currents, though, will
hear the many voices of what LaDonna calls the great Musical
Spirit beckoning us to become a part of the hurricane rush that is NOW! Deep TIDES move under and
through each piece & will transport you UP through the doldrum clouds to that place
where light and life illumine each step! In fact, being a veteran
listener to many of her pieces through the years, I can say without
qualification that this is the most musically mature adventure I have ever heard her
perform! The strings are solid throughout
and in the end-run, the only assessment can be that this is one experience you MUST have, if you are open (even in the least) to new musical tempests! MOST
HIGHLY recommended! Contact LaDonna at 1705 12th St.
So., Birmingham, AL 35205 - & I mean,
NOW!!!
-Zzaj, Improvijazzation Nation
|
|
|
|