The Old Song and Dance

From the Theater Vault Dept.: Despite my lifelong Lloyd Webber antipathy, I felt inclined to like this show just on the basis of its unusual concept. And I’m a great fan of good dance. But this one turned out to be yet another Lloyd Webber show, and reading my review of it again after all these years (the piece dates back to 1987), I now understand the root of that antipathy. It was a high-school trip to see “Jesus Christ Superstar” on Broadway. I was a senior, and at last had a girlfriend – or so I thought. We sat together on the bus heading into Manhattan, and were adjacent in the theater. But I was by then picking up this-ain’t-gonna-last vibes, and, sure enough, it didn’t. I couldn’t blame it on her – I loved her, with what must have been terrifying first-relationship fervor. I was too self-centered at that point to blame myself, so I had to blame someone. I blamed Lloyd Webber.

                                                                                                 

Melissa Manchester

“SONG AND DANCE,” the Andrew Lloyd Webber musical that began a week’s run at Proctor’s Theatre Tuesday night, presents us with a dilemma that is all too characteristic of the contemporary musical-theater stage: Bimbo comes to the city, is too stupid to maintain a successful social relationship, gets mean, regrets it, and acts stupid again. Curtain.

The two acts are divided according to the title: the first is sung; the second, danced. Emma is a Brit who comes to New York to make a success as a hat designer. But, until she gets her green card, she makes time with a succession of mercurial men, culminating in a short-lived affair with a married man from Westport who wants to leave his wife and kids for her. So she dumps him.

Cooking with the Beekman Boys

From the Library Dept.: Here’s a ten-year-old book review of mine that I never thought then to post on this blog – so here it is, still, I hope, timely, as the recipes and cooking tips in the book described below aren’t likely to go out of date. The piece originally ran on the now-defunct website knowwhereyourfoodcomesfrom.com. 

                                                                                   

IT’S NOT SURPRISING that a cookbook from the Beekman Boys would be a classy, useful tome: everything they present they present with commendable style. The Beekman 1802 Heirloom Cookbook collects over a hundred recipes, nicely described and beautifully photographed (by Paulette Tavormina), arranged by season and encouraging you to make the most of what’s available nearby.

Brent Ridge and Josh Kilmer-Purcell fled (more or less) the wilds of Manhattan to live in the wilds of rural Sharon Springs, NY, on a two-centuries-old farm where they quickly began raising goats and tomatoes, an effort chronicled in a television series that helped establish their renown. Kilmer-Purcell has written best-selling memoirs; husband Ridge is a physician who spent a few years as Vice President for Healthy Living for Martha Stewart Living Omnimedia. It’s no surprise that their Beekman 1802 brand has become synonymous with good taste. And the food products taste good. Quite good.

Can you achieve a similar result with their recipes? The book, co-written with Sandy Gluck (former food editor for Martha Stewart’s Everyday Food magazine), is quartered into seasons, with each season further divided into courses. Spring’s starters, for example, include a dandelion salad and asparagus torte, with a main dish of lamb burgers with cucumber-yogurt sauce. There’s a starter of a cucumber cooler for summer, whose main dishes include stuffed peppers with fresh corn and a grilled summer squash pizza. And jumble berry pie (with blueberries, raspberries, and blackberries) for dessert.

Sitting on the Dock of the Boggs

 From the Recordings Vault Dept.: Every so often, while browsing through my files, I find a piece that I wrote on spec, or possible, as I suspect is the case with this one, for Metroland. That publication liked to stockpile a cluster of CD reviews and run them some weeks later. If this one ever ran, I have no idea. But the recording it describes is a foundational set for a collection of true American roots music.

                                                                           

EVERY NOW AND THEN a small, seminal stream of music bubbles up amidst the roar of the pop machinery. Thanks to a recent Smithsonian-Folkways re-release, we can again hear the voice and banjo of Virginia-born Dock Boggs, who recorded a series of LPs for Folkways in the mid-60s after working in obscurity in Kentucky coal mines for 44 years.

His repertory comprised songs learned from relatives and recordings, typically old songs that already had transformed in the re-singing, transformed again by Boggs during his early years of playing and singing, and changed once more when he prepared them for these recordings. Old songs like “John Henry,” “Pretty Polly” and even “Turkey in the Straw,” along with many tunes that Boggs assembled from bits of verse and music.

They’re played in a deceptively simple style – typically, Boggs accompanies himself by playing the melody against a style called up-picking, only rarely using the more boisterous clawhammer style. And his singing voice is reedy and strident, wailing with nasal intensity through one mournful ballad after another.

Caribbean Flavor in the Neighborhood

From the Food Vault Dept.: Here’s a review I wrote 29 years ago about a Jamiacan restaurant in downtown Albany, NY. At the time, it was fairly unique in offering this cuisine, but now you’ll find a number of Jamaican and other Caribbean-cuisine eateries in the area. As for Clayton’s itself, it closed many years ago, but I’m happy to note that the address is now home to Hot Spot Jamaican-American Cuisine.

                                                                                        

MY FIRST PRIORITY when traveling is to find the native cuisine. A couple of years ago I poked around Nassau, in the Bahamas, in search of something other than the crappy tourist fare offered anywhere near the hotels. Finally, we learned that you had to go “over the hill,” to the part of town not recommended by the brochures. My wife and I cabbed to a place called The Three Queens and had the best meal of our stay, not to mention a fun time among friendly people.

Stew beef - borrowed from
another source

That’s sort of the feeling you get in downtown Albany, at least when you’re dining at Clayton’s. Formerly a restaurant called Caribeño, Clayton’s has been open for about a year, maintaining its predecessor’s balance of Spanish and Caribbean cooking. You get good food very inexpensively, and you get it at all hours.

You may also have known the location as Calsolaro’s, its name for many years. Located a little west of where Washington Avenue vees off of Central, the restaurant still has two entrances, one of which leads right to the bar. Unlike its immediate predecessor, Clayton’s sells alcohol--wine and beer--and has a list of wine specials posted on the back wall of the dining room. The front part of the dining room is a single aisle flanked by tables and booths; beyond it is a larger room that wasn’t being used the afternoon we visited.

A Pride of Musical Lions

A BIG CLUE TO UNDERSTANDING THIS BAND lies in the fact that Bob Crosby isn’t on the box set’s cover. It’s the first artist-centered Mosaic set I’ve seen where the named talent isn’t pictured, and there’s an excellent reason. Bob Crosby was taken on only as the nominal leader of this group. He couldn’t read music, couldn’t wield a baton, and couldn’t sing as well as his brother Bing. But he was a radio presence with an easygoing stage presence, and the bandmembers figured he wouldn’t get in their way. They were right. Incredibly, most remained happy with this arrangement.

The well-known backstory bears repeating due to its comic improbability. Ben Pollack led a hugely successful band through the 1920s, launching the careers of players like Benny Goodman and Glenn Miller. In the early 1930s, Pollack fell in love, and his inamorata was a second-string singer named Doris Robbins. He wanted her name to become famous. It did, but only in the context of this story.

His bandmembers resented the attention he gave her and the awful performances she perpetrated, and late in 1934 they staged a mass walkout. They were dubbed “Pollack’s Orphans” in the music press. Many of them moved to Jackson Heights in Queens, to a building where they were able to commandeer the basement as a rehearsal space. They styled themselves as a coöperative and elected reedman Gil Rodin as their leader.

Hop on the Local!

As my ability to walk and even stand continues to deteriorate, I dreaded the process of putting together this year's Thanksgiving meal. And I didn't have to, because my daughter took over in order to implement her wish to keep as much of the component ingredients local as possible (revisiting a concept I used for our 2006 dinner). The resultant menu is below, and here's a link to the menus from our previous 24 years at this address.

Cascading into the End of Time

From the Musical Vault Dept.: The Cascade Soloists, as a group, is no more, but clarinetist David Shifrin continues a distinguished career on the faculty of Yale (among other schools) and as a longtime part of the Chamber Music Society of Lincoln Center. Violinist Ik-Hwan Bae was an enthusiastic chamber-music performer as well as concertmaster of South Korea’s Hwaum Chamber Orchestra, while pianist William Doppmann was a composer as well, winning two Guggenheim Fellowships in that capacity; both died over a decade ago. I can find no recent internet trail of cellist Warren Lash. But we’re going back 40 years now (as we did last week) to revisit a wonderful concert performed by the four of them in Schenectady.

                                                                                       

Cascade Soloists is a charming name for a chamber music ensemble, and their performance at Union College’s Memorial Chapel on Friday night was a charming concert. The music was well chosen and received the kind of sensitive ensemble playing that is usually the result of many more years of collaboration than the few the Cascade Soloists have racked up.

The quartet comprises David Shifrin, William Doppmann, Ik-Hwan Bae, and Warren Lash playing, respectively, clarinet, piano, violin, and cello. That makes Olivier Messiaen’s “Quartet for the End of Time” a natural selection, and it concluded Friday’s concert.

First performed in 1941 while the composer was held prisoner in Germany, it combines a bleak sense of those surroundings with a bold tribute to the tenth chapter of the Book of Revelation.

There is a pastoral aspect to the piece in two senses of the term: the religious underpinnings are topped with a setting of birdsong, and this awareness of nature informs much of the work.