The String Queens, a Washington, DC, trio, are on the rise. Since playing at the Biden inauguration last year, the three musicians seem to be everywhere. I was honored to be asked to arrange the orchestral music for their debut concert with the Capital City Symphony in December. Trying to add energy to their already incredibly energetic stage show was challenging, but about as much fun as an arranger can have.
My bucket list of film projects just got smaller: I finally had the chance to score a real detective film noir. Private is a black-and-white two-hander starring its director, Steve Blackwood, and one of my favorite actors, Sandy Bainum. During the course of the scoring, Steve referenced the immortal Bernard Herrmann’s work for Alfred Hitchcock. After being completely intimidated, I found it invigorating to try and find an emotional equivalent to Herrmann’s work in several scenes. Private will be out in festivals later this year.
I have finished two musicals over the past three years. Of course “finished” is an expedient word that really means, “We’ve stopped changing it…for now.” Musical theater is a collaborative medium, and there are many tasks still to come in the course of getting either of these pieces up on a stage with costumes, sets, lighting and a pit band. Usually, a composer will hand off the orchestration of his songs to a specialist in the art, but for these two shows, I couldn’t bear to. I had to do it myself. To me, the songs aren’t a full artistic statement unless I can have a hand in constructing the final ensemble sound. If you’re curious to hear a few of the final orchestrations for the shows, you can find them at these websites: 19: The Musical, a show about women gaining the right to vote, and When We Get There, a show about a fateful car trip to Selma, Alabama.
I am pleased and a little surprised to report that Out Under the Sky, the newest CD from my jazz band, Chaise Lounge, made it to number 9 on a national folk music chart. Folk? you say. That’s what I said! But when I thought about it, it made sense. The band has embraced a lot of musical styles that are pretty far afield from our original “1960’s jazz” mission statement. This album has a traditional Appalachian Christmas carol on it, along with a folksy original called “Clean White Snow” and a few roots numbers. I have always struggled to define the music of Chaise Lounge. Maybe it is “folk music that swings.”
I recently finished scoring a doc called Invisible Warriors for the director Gregory Cooke. This film has been a 12-year labor of love for him—the story of Black “Rosie the Riveters,” including his own mother, who joined factory lines during World War II, but whose inspiring stories were not as heralded as those of other Rosies. With little documentation or archival footage of these women, it was a nearly impossible film to put together, but Gregory somehow managed it: The movie had a virtual premiere in March, and there has been a lot of interest from streaming services. The poster for the film, created by art director Gina Cooke, is a portrait of Ruth Wilson, who worked at the Philadelphia Navy Yard during the war and helped build the aircraft carrier the U.S.S. Valley Forge. Ms Wilson recently turned 99. I am rooting for this film and its indefatigable director. It’s time for Ms Wilson and her fellow Rosies to get their due.
This is the star of today’s recording session. My Neptune baritone guitar. I only use this about twice a year, but it is the only way to get that perfect spaghetti Western sound that we all love. Write your piece in B minor, add tremolo, and you’re there.