Monday, May 14, 2007; C04
It was Motown night at the Library of Congress's Coolidge Auditorium on Friday, when Opus 21, an ensemble committed to exploring the musical intersections of jazz, classical and pop, romped through seven recent commissions and other pieces that fit its vision. The shadows of the Temptations and Marvin Gaye may have hovered over the proceedings, but Jack Ashford, percussionist of the original Funk Brothers, was there in the flesh -- hearty and voluble -- to spin out stories of travels and musicmaking and, in particular, to remember Funk Brothers keyboardist Joe Hunter, who died earlier this year.
The program offered a 21st-century take on old Motown standards. There was Daniel Bernard Roumain's "I Never Meant to Hurt You," which sampled the Cure and ended as a joyful dance; Michael Daugherty's "Walk the Walk," a gorgeous rhapsody for baritone sax, bongos and light percussion based on the Temptations' "My Girl"; and Fred Hersch's "Groove Assembly," which took bits and pieces from all over, set them out tentatively and then fitted them together triumphantly.
Eve Beglarian superimposed a remake of Marvin Gaye's "The Bells" over a rondeau by Machaut, the 14th century's iconic composer (although, to tell the truth, it was hard to discern even a whiff of Machaut's distinctive voice), and Joe Hunter's "Lock It in the Pocket" sang with the joy of gospel ecstasy. There were also pieces by Frank Zappa, Richard Adams (Opus 21's artistic director), Paquito D'Rivera and Tom Knific, all colorful and rhythmically intricate.
The performances were exuberant and high-energy. Judy Moonert and Gregory Secor moved easily from vibes and tambourines to the other great noisemakers in their arsenal.
Trent Kynaston got both wonderfully sad and in-your-face-nasty sounds from his saxes, and violinist Renata Artman Knific did a great job of bridging the gap between jazz and classical techniques. Clarinetist Bradley Wong, pianist Steve Zegree and bassist Tom Knific provided fine support throughout.
-- Joan Reinthaler
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